LA Trip Ep. 6: Ted Schilowitz Breaks Down the Tech Transforming Entertainment

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Welcome to, we Built This Brand.

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I'm your host, as always, Chris Hill and

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with me is my fabulous co-host of Drisha.

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I am the host of Conversations with Curiosity,

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and I'm so excited to be here at Powerful.

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Forward and we have an amazing guest with us today, Ted.

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Yes.

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I dunno about.

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Amazing.

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But I'm here so you guys can decide, I guess, after you talk to me.

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Well, we're happy to have you here.

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Thank you.

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Thanks for having me.

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Ted.

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Will you tell our audience a little bit about your work?

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Uh, sure.

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Um, so I've worked in the entertainment industry for about 40

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years, such the gray hair, uh, and somehow survived it all.

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Uh, I've had sort of three kind of, I guess call it career arcs.

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Okay.

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Which is kind of interesting for I guess anybody from a career standpoint.

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First I was, uh, a. Production person, um, mostly doing

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children's television in, uh, this odd place called Central

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Florida, which I refer to as the funnel of Crazy Florida's.

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This little thing that sort of looks like a little vestige of the

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United States, and if it gets crazy enough, it's gotta go to Florida.

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Oh, I love that.

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So that's where I grew up as a kid, uh, and, uh, worked there

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for, for the first 20 years of my career doing production for.

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Mostly Disney and Universal and PBS mostly

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children's stuff as you do, uh, in a place like that.

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Um, and then a good close friend of mine said, you gotta come out to the show.

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You gotta come out to the West coast.

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And so, um, when I was, you know, guess late thirties, I guess,

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we moved to, uh, California and did some production here.

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But kind of after 20 plus years of it, I was

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kind of like, oh, maybe I'll do something else.

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Was starting to do some startup stuff then.

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So my entrepreneurial muscles started to get exercised.

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Uh, right around that time while I was still in Florida.

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I was very intrigued.

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We were shooting a lot of film at the time and I was very intrigued

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in this new Bengal technology called high definition video.

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Mm-hmm.

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And I started to build, um, some technology

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around, uh, some enabling tools around that.

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We raised some startup funds and one of the, uh, companies that

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was actually building some of the hardware under the hood, um.

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Was a company out of Northern California that was doing,

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um, sort of video engineering at a very, very high level.

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Okay.

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And, um, I was very involved in Apple culture and Apple

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products, uh, in the, in the eighties and nineties.

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Um, using these things called avids, which still exist today, but they were

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very expensive back then and they only lived on a Mac platform back then.

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Okay.

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So I was very connected to the Apple sort of ecosystem and, uh,

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one of my mentors, his name is John, said, you know, after that,

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that startup didn't quite get enough money to do exit velocity.

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He's like, you know a lot about Apple and Apple culture.

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Apple has approached us to, um, see if we would be interested

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in being their partner on a hardware project around

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professional video applications for the Apple platform.

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When Steve Jobs was still running the roost and everything was, um,

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and it was interesting and I said, okay, well that's interesting.

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And my friends were like, you're leaving production.

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I'm like, I don't know if I'm leaving, but I'm taking a little departure.

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Um.

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So I got involved in that and I was sort of this embedded

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employee in Apple, even though I worked for this engineering firm.

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We were partnered with Apple to build this thing

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that became what we now call desktop video.

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Uh, and it.

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Became a huge sort of phenomenon all around the world where you

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used to use these very expensive, dedicated tools to do video.

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And then we started to democratize that and people could do videos on

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computers, which is essentially what these three cameras are right now.

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Um, so the world changed and I was involved with like seven engineers.

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It was kind of a wonderful time.

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Wow.

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Then after that I did a little startup with a buddy of mine.

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It's a long kind of interesting story.

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Um, we were both connected to Apple and we started a

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little company called gtech, which are these little silver

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hard drives that look like little mini apple computers.

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Some of your crew probably knows them, and they sit on everybody's.

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Uh, desktop multimedia machine.

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Mm-hmm.

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Uh, that company, uh, got acquired by, um, uh,

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Hitachi and then eventually Western Digital.

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And then I helped, I was part of the founding member, uh, one

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of the founding members in the first employee of a company

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called Red Digital Cinema, which is a movie camera company.

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Yes.

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It came sort of the beginnings of this digital cinema revolution.

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It wasn't digital video, it was digital cinema.

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Um, so I was involved in the.

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Early stages of that and then did that for X amount of years and then

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eventually sort of tried to do it early, early retirement from that.

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Uh, and then, um, some friends of mine at the movie studios, I was very

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connected to the, the movie culture 'cause they all were using this new

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fangled camera and the workflow, which was tied to Apple, interestingly enough.

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Uh, so everything Apple doesn't leave far from the, from the tree.

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In my world.

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It's always there.

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That

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happens when you're the infrastructure of half the world.

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So did

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the Yes.

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So, um.

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So some friends of mine at, uh, 20th Century Fox, one of my

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other mentors, his first name is also Ted, um, said, if you're

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really gonna retire from the camera company, we have an idea.

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We want you to come help us figure out like the future of entertainment.

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You'll be our futurist.

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Like, we'll give you a fun title.

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And I was like, I didn't even understand what he was talking.

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I was like, what do you, that's not a real job.

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Like, what do you want me to do?

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He's like, I don't know, you'll just have to figure it out.

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He's like, who do you want me to do it with?

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He's like, I don't know.

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You'll have to figure that out too, me and other people.

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Um, so that kind of became my.

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Next career, the third part of my career.

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Wow.

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Um, and it was fascinating, and I got to

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explore all these new forms of entertainment.

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Got very heavily into the idea of next generation immersive

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entertainment for theme parks and virtual reality and mixed reality.

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Did that for 20th Century Fox for about six, seven years, and

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then some of the key people moved from Fox over to Paramount.

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I moved over to Paramount with them, did that for about seven

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years, and then a couple years ago, retired from Paramount.

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Now.

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These days advising startups and helping people that are a generation or two

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younger than me, sort of go on the same trajectory that I did start companies.

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And hopefully some of them work out.

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And that's kinda why I'm here at this conference.

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So what

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a journey.

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That's,

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that's, uh, that's 40 years and three minutes, so you'll have to

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tell us more.

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So what, what was it like taking on a. Futurist role

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at a massive legacy brand like 20th Century Fox.

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Was it hard to disrupt within that environment?

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And what was kind of, I know you had to create the

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role, but what was the focus and what was the pushback?

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And tell us, tell us about the experience.

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Oddly

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enough, I wouldn't say it was hard.

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To build into that role because I had great support and great mentorship

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and great people that understood the value of learning something new.

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Um, and I tend to be sort of diplomatic around, um, disruption.

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Mm-hmm.

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I'm kind of called, people call me a technology diplomat because

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there's a, there's an interesting phrase that a diplomat can

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tell you how to go to hell in a way that you will enjoy the trip.

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That you'll enjoy it.

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Yeah.

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Did is like I would take things that people were very

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concerned about, like, this is gonna change a lot.

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Like today, a lot of my discussions around AI is this giant

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disruptive factor, which as you know, we were on this panel together.

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Yep.

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Of course.

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So we just talked about it and I have these interesting perspectives

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on it, just from a lot of learning and other disruptive phases.

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Sure.

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Of a 40 year entertainment career that was always

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focused on these little disruptive nuggets that in some

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cases became huge, um, trajectories for our industry.

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Right.

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So.

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I had really good support at the very top level,

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sort of CEO President levels of the company around.

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We know we have to do things new and different while still

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maintaining our heritage and the importance of what we do for

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a living, but we can't just stick our head in the sand and say,

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nothing's gonna change because we know things are gonna change.

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So as long as you.

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Got that kind of mentality that things will change, but you have to kind

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of understand where the ethical boundaries are that are always changing

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and the desire points and what's really gonna change under the hood.

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And that creativity doesn't really change.

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And storytelling doesn't really change.

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You know, we tell the same stories over and over and over

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again as humans, but we deployed different technologies.

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To achieve those objectives.

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And really at the end of the day, all of what we do

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is some kind of illusion, some kind of magic trick.

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This is all, you know, video is an illusion of technology.

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Right.

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And it goes all the way back to the beginnings of cinema.

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In fact, many early practitioners of cinema we're actually magicians.

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Uhhuh,

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yeah.

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And I have a lot of friends that are magicians and, and

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so that, that sort of stock and trade has always lived.

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Inside me.

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So when you look at new things through a lens of, it's just another

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version of magic and what people do to be entertained and allow

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themselves to be entertained with these, like how is that even possible?

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Yeah.

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Like when you look at, you know, movies like.

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Planet of the Apes, for example.

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And you look at these creatures and you're like, well, clearly they figured

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out a way to teach these apes to talk because there's no way you could

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create something that looks that photorealistic with computer technology.

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Yeah, well, of course we can.

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And now in the age of ai, we can do almost anything.

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And we're just in its infancy of learning how to build this into an industry.

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Mm-hmm.

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And it's like I was saying on the panel.

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I've never been involved in an industry, and I've been in

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this business for a long time where there's literally a

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wholesale change of technology every two to three months.

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Something new emerges, not just some

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technology I was gonna add in there.

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Not just some technology, a wholesale change of, I feel like

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all kinds of things, but technology being one, the main,

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not the, the technology sort of births all of these new concepts

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and new ideas of how to tell stories and entertain people

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and, and immerse people in, in various forms of entertainment.

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Um, so.

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The answer is kind of Yeah, it was.

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It wasn't, yeah, it wasn't as a much of an uphill climb.

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I could tell you where, and it's still an issue today, where

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the Uphill climb was, was how do you find an ROI for new, right?

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Mm. When we know the ROI, even though it might

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be shrinking and starting to become a little.

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Dis disabled.

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Yeah.

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Um, we know where we can make money with traditional

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entertainment, it's harder to know where you can make money

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with entertainment that doesn't have a basis yet what is new.

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Yeah.

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Right.

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So like, could anybody have realized.

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25 years ago that social media and vertical media on this thing

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that we now call a smartphone would be such an economic force.

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I don't think the answer is no.

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I don't think they could.

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Is no.

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And I wanna throw, throw it to Chris, but I, I, I think that's

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something that's very interesting that you hit upon both on the

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panel and now is that it's interesting that a lot of times artists.

249
00:10:24,285 --> 00:10:27,944
Storytellers look at technology as the, as an enemy.

250
00:10:28,185 --> 00:10:29,265
We're hearing it right now.

251
00:10:29,265 --> 00:10:31,395
Oh, it's gonna take our jobs because truly

252
00:10:31,605 --> 00:10:34,814
art is always a bi fabrication of humanities.

253
00:10:34,814 --> 00:10:35,385
Past.

254
00:10:35,564 --> 00:10:38,475
We take art and we, Quintin Tarantino talks about

255
00:10:38,475 --> 00:10:40,814
this, you know, he, he spends a lot of time.

256
00:10:40,940 --> 00:10:43,160
Studying other art and then creating ideas from that.

257
00:10:43,160 --> 00:10:48,560
Art and technology has always actually been the vehicle to then transform that

258
00:10:48,560 --> 00:10:52,220
art into a new medium, and that's how we got filmmaking in the first place.

259
00:10:52,430 --> 00:10:55,130
So it's crazy that to me, sometimes the artists see it

260
00:10:55,130 --> 00:10:57,830
as this kind of demon that we're going up against when

261
00:10:57,830 --> 00:11:00,740
it has been the enabler of our art this entire time.

262
00:11:00,740 --> 00:11:00,830
Look,

263
00:11:01,040 --> 00:11:05,420
every piece of technology has, well, let's call it demonic traits, right?

264
00:11:05,495 --> 00:11:05,785
That.

265
00:11:06,449 --> 00:11:07,290
Things will alter.

266
00:11:07,350 --> 00:11:08,459
Things will change.

267
00:11:08,790 --> 00:11:11,760
So if you want to just stay where you are,

268
00:11:11,760 --> 00:11:13,650
you may still be able to hold a career, but.

269
00:11:15,015 --> 00:11:16,665
The infrastructure around that will crumble.

270
00:11:16,694 --> 00:11:16,785
Mm-hmm.

271
00:11:17,145 --> 00:11:20,535
Like, you know, in, even in, in my era as someone is,

272
00:11:20,535 --> 00:11:24,765
early, early sixties, there was a, a, a business of cutting

273
00:11:24,765 --> 00:11:26,925
film and doing what we call negative cutting for films.

274
00:11:26,925 --> 00:11:26,984
Yeah.

275
00:11:26,984 --> 00:11:28,214
And making prints of films.

276
00:11:28,214 --> 00:11:28,275
Yeah.

277
00:11:28,275 --> 00:11:31,935
And a whole infrastructure of people that would drive in little pickup

278
00:11:31,935 --> 00:11:37,604
trucks and vans and drop physical, uh, cans of film off to a network

279
00:11:37,604 --> 00:11:40,035
and infrastructure all around the world for people to watch those films.

280
00:11:40,035 --> 00:11:40,334
Right.

281
00:11:40,515 --> 00:11:43,035
That largely changed to a digital infrastructure.

282
00:11:43,714 --> 00:11:47,015
Those jobs changed in some cases, expanded in some cases shrink.

283
00:11:47,105 --> 00:11:50,765
And there's still a tiny little fraction of the world that

284
00:11:50,765 --> 00:11:53,555
uses film for acquisition, uhhuh and for distribution uhhuh.

285
00:11:53,975 --> 00:11:59,824
Um, but you're talking about like almost no human, you know, like that you're

286
00:11:59,824 --> 00:12:03,485
talking about like a handful of humans that do this kind of stuff now, where.

287
00:12:03,735 --> 00:12:09,045
The digital disruption has now birthed a huge amount of new people that would've

288
00:12:09,045 --> 00:12:12,915
never had a chance to be in the entertainment world, because they can shoot on

289
00:12:12,915 --> 00:12:16,095
cameras like this that are low cost digital cameras, but still professional.

290
00:12:16,305 --> 00:12:18,435
Or they can shoot on their iPhone or their Android phone.

291
00:12:18,465 --> 00:12:18,735
Absolutely.

292
00:12:18,735 --> 00:12:22,005
And they have an entire movie studio in that smartphone.

293
00:12:22,215 --> 00:12:22,875
They can shoot.

294
00:12:23,370 --> 00:12:26,970
They can edit it and they can distribute it to the world directly from

295
00:12:26,970 --> 00:12:30,660
that device, largely because of what we, you know, call the internet.

296
00:12:30,690 --> 00:12:30,930
Right?

297
00:12:30,930 --> 00:12:34,290
The power of the internet is an enabling factor that has enabled.

298
00:12:34,829 --> 00:12:36,930
Millions and millions of careers.

299
00:12:37,050 --> 00:12:37,140
Mm-hmm.

300
00:12:37,230 --> 00:12:38,310
That didn't exist.

301
00:12:38,314 --> 00:12:39,214
It didn't exist at all.

302
00:12:39,214 --> 00:12:40,770
It didn't exist at all in the days of movie

303
00:12:40,770 --> 00:12:43,050
violas and film prints and, and negative cutting

304
00:12:43,350 --> 00:12:45,209
technology is truly a gift when you look at it that way.

305
00:12:45,209 --> 00:12:45,300
And

306
00:12:45,300 --> 00:12:49,260
it's, and it's wild to me because it's not just, um, I mean, it's,

307
00:12:49,260 --> 00:12:52,890
it's becoming even more democratized because you see, like, you know,

308
00:12:52,890 --> 00:12:56,310
we, we talked about you being at Red, like red got acquired by Nikon.

309
00:12:56,339 --> 00:12:56,459
Yes.

310
00:12:56,730 --> 00:13:00,390
Now, Red's technology exists within new Nikon cameras.

311
00:13:00,420 --> 00:13:00,510
Right.

312
00:13:00,510 --> 00:13:02,339
You know, all of that technology is.

313
00:13:02,780 --> 00:13:05,900
Becoming more democratized, becoming a lower cost

314
00:13:05,900 --> 00:13:08,660
for the end creator that wants to create with it.

315
00:13:08,839 --> 00:13:12,530
And then with ai, you have a similar thing happening where, you know, you,

316
00:13:12,680 --> 00:13:16,730
you can look online and just scroll, I'm, I'm sure in your social media feed,

317
00:13:16,730 --> 00:13:20,510
you'll come up with, you know, the AI sa well maybe, maybe this is my feed.

318
00:13:20,780 --> 00:13:23,520
Um, but the AI Sasquatch or yes, you know, these

319
00:13:23,655 --> 00:13:25,505
I've Sasquatch, AI generated, you know, these.

320
00:13:25,885 --> 00:13:28,195
AI generated characters that come up from time to

321
00:13:28,195 --> 00:13:30,175
time, and they're, they're looking more and more real.

322
00:13:30,505 --> 00:13:32,065
They're becoming more and more direct.

323
00:13:32,065 --> 00:13:35,995
And, and for some people that is like the result of their,

324
00:13:36,295 --> 00:13:38,785
their planning and their strategy and their creativity.

325
00:13:38,785 --> 00:13:42,115
It's not just throwing it into an AI machine and coming up with crap.

326
00:13:42,445 --> 00:13:42,775
Yeah.

327
00:13:42,775 --> 00:13:42,965
And, and.

328
00:13:43,755 --> 00:13:45,645
Certainly in our business, you'd make the point

329
00:13:45,645 --> 00:13:48,104
about red being recently acquired by Nikon, right?

330
00:13:48,285 --> 00:13:51,854
There's an and, and a lot of prof, what we call professional camera companies

331
00:13:51,854 --> 00:13:55,364
these days are actually really struggling economically simply because

332
00:13:55,364 --> 00:13:59,564
the delta between a consumer camera that everybody has in their pocket

333
00:13:59,564 --> 00:14:03,165
now shooting 4K video at various frame rates with high dynamic range and

334
00:14:03,314 --> 00:14:06,885
photographic filters and so forth and so on, and certain filmmakers that are

335
00:14:06,885 --> 00:14:09,765
gonna choose to use those cameras to actually make professional production.

336
00:14:10,185 --> 00:14:12,555
Um, but the bulk of these people are using it.

337
00:14:12,555 --> 00:14:14,805
To just upload their stuff on YouTube and it looks

338
00:14:14,805 --> 00:14:17,114
really good and it totally serves that purpose.

339
00:14:17,175 --> 00:14:22,545
So you start to narrow down the need for what we call professional tool

340
00:14:22,545 --> 00:14:27,974
sets, because these consumer tool sets basically bring that delta in to the

341
00:14:27,974 --> 00:14:32,415
point where in some cases imperceptible, and in many cases you can certainly

342
00:14:32,415 --> 00:14:35,864
get a much better refined image if you use professional production, but.

343
00:14:36,630 --> 00:14:39,720
Is it really going to be worth the cost and complexity?

344
00:14:39,900 --> 00:14:39,960
Yeah.

345
00:14:39,960 --> 00:14:41,460
When you're doing something to upload to

346
00:14:41,460 --> 00:14:43,830
TikTok or or YouTube reels or whatever it is.

347
00:14:43,920 --> 00:14:45,510
And the answer is largely no.

348
00:14:45,690 --> 00:14:45,960
Absolutely.

349
00:14:45,960 --> 00:14:49,500
So just, you know, I mean, just this microphone, I'm sure it costs almost

350
00:14:49,500 --> 00:14:52,860
nothing compared to what a wireless microphone would cost at years ago.

351
00:14:52,980 --> 00:14:53,160
Yeah.

352
00:14:53,160 --> 00:14:54,510
And hopefully it sounds fine.

353
00:14:54,600 --> 00:14:54,870
Right?

354
00:14:54,870 --> 00:14:56,280
It sounds great.

355
00:14:56,280 --> 00:14:57,000
Otherwise I wouldn't

356
00:14:57,000 --> 00:14:57,510
be using it.

357
00:14:57,510 --> 00:14:58,170
But no, it's.

358
00:14:58,370 --> 00:14:59,420
You're, you're exactly right.

359
00:14:59,420 --> 00:15:02,630
I mean, the, the cost of this stuff is, um, you

360
00:15:02,630 --> 00:15:04,820
know, it's, it's the, the risk versus reward.

361
00:15:04,820 --> 00:15:09,740
It's like I could go and get a six K camera or a 12 K camera and shoot all of

362
00:15:09,740 --> 00:15:13,010
this interview, but is anybody even gonna be able to stream that on YouTube?

363
00:15:13,160 --> 00:15:13,670
No.

364
00:15:13,970 --> 00:15:16,460
And if you're looking at it on your phone, you're not gonna

365
00:15:16,460 --> 00:15:19,550
be able to see maybe 4K resolution if you've got a good eye.

366
00:15:19,640 --> 00:15:20,270
But even those,

367
00:15:20,270 --> 00:15:23,090
even these cameras are relatively cost effecti you're talking about, you know?

368
00:15:23,120 --> 00:15:23,480
Yeah.

369
00:15:23,510 --> 00:15:26,300
Low thousands, or in many cases, sub a thousand dollars

370
00:15:26,300 --> 00:15:26,450
easily.

371
00:15:26,450 --> 00:15:26,720
Yeah.

372
00:15:26,720 --> 00:15:26,730
Yeah.

373
00:15:26,780 --> 00:15:27,320
So many.

374
00:15:27,585 --> 00:15:30,645
You know, professionals can afford to enter into this

375
00:15:30,645 --> 00:15:33,765
market where just a few years ago, there was no chance.

376
00:15:33,765 --> 00:15:35,985
You're talking about cameras that were, you know, six figures.

377
00:15:36,225 --> 00:15:36,285
Yeah.

378
00:15:36,285 --> 00:15:37,035
To enter this market.

379
00:15:37,035 --> 00:15:40,155
So a lot's changed and AI is going to be yet another

380
00:15:40,155 --> 00:15:44,025
massive agent of change on that network effect, on that

381
00:15:44,175 --> 00:15:47,420
cost lowering, like we talked about in the panel, the idea.

382
00:15:47,935 --> 00:15:51,745
Hiring big time human powered helicopters to shoot.

383
00:15:51,745 --> 00:15:53,725
Aerials number one went through its first

384
00:15:53,725 --> 00:15:55,525
disruptive revolution with drones, right?

385
00:15:55,795 --> 00:15:57,475
When you got drones that were big enough to hold things

386
00:15:57,475 --> 00:15:59,635
like a red camera or an icon camera or whatever it is.

387
00:15:59,695 --> 00:16:03,835
And now with ai, you're kinda like, for a lot of filmmaking,

388
00:16:03,835 --> 00:16:05,935
you're like, well, I guess I could shoot it with a drone.

389
00:16:06,385 --> 00:16:08,515
I'm definitely not gonna shoot it with a real helicopter, but why

390
00:16:08,515 --> 00:16:14,395
don't I just type in, I need a woodsy, Oregon smokey, you know, like

391
00:16:15,025 --> 00:16:15,325
aerial

392
00:16:15,325 --> 00:16:16,195
helicopter shot.

393
00:16:16,195 --> 00:16:17,395
Aerial helicopter shot with a blue pickup truck.

394
00:16:17,675 --> 00:16:20,405
And these kind of things, and it'll make it for you.

395
00:16:20,555 --> 00:16:20,795
Yeah.

396
00:16:21,720 --> 00:16:23,850
There's an interesting argument to be made of

397
00:16:23,970 --> 00:16:26,250
inorganic versus organic, which I touched on.

398
00:16:26,340 --> 00:16:26,430
Mm-hmm.

399
00:16:26,700 --> 00:16:31,200
So we're entering in an age where synthetic will start to take

400
00:16:31,200 --> 00:16:34,560
over everything and you're gonna lose something in that equation.

401
00:16:34,950 --> 00:16:37,439
Going back to a Quentin Tarantino who still likes to shoot on film

402
00:16:37,439 --> 00:16:41,070
sometimes and distribute, like he'll do a 70 millimeter print Yeah.

403
00:16:41,100 --> 00:16:43,080
For that tiny little fraction of an audience.

404
00:16:43,140 --> 00:16:43,230
Yep.

405
00:16:43,350 --> 00:16:45,750
That isn't a place that they can see it and afford to see it.

406
00:16:45,810 --> 00:16:45,960
Yep.

407
00:16:46,430 --> 00:16:50,000
And I feel like we always lose something in

408
00:16:50,000 --> 00:16:52,550
the equation when technology moves forward.

409
00:16:52,880 --> 00:16:55,730
Um, so you always have to be aware that you're gonna give something up.

410
00:16:57,030 --> 00:16:57,250
But,

411
00:16:57,525 --> 00:16:59,564
but you're gonna get something on the, also gonna get something that's

412
00:16:59,564 --> 00:17:01,844
gonna be much more accessible to a lot more people.

413
00:17:01,844 --> 00:17:01,964
Yeah.

414
00:17:02,265 --> 00:17:03,915
And I think that's where there's still the

415
00:17:03,915 --> 00:17:07,125
originality of an art form comes to play.

416
00:17:07,214 --> 00:17:10,065
Like you could still, yes, technology has moved past.

417
00:17:10,065 --> 00:17:14,175
You decide where you utilize it and where you go back and you use the

418
00:17:14,175 --> 00:17:18,555
original hand sketch, the hand drawing, the, the film like Tarantino

419
00:17:18,555 --> 00:17:22,514
does for Chris's audience, which is widely, um, interested in.

420
00:17:22,579 --> 00:17:24,560
Brand building and how brands are built.

421
00:17:24,859 --> 00:17:30,620
Uh, a lot of them are now facing this great, this great, uh, question of where

422
00:17:30,620 --> 00:17:36,199
to put their attention as these tech technologies continue to boom and just.

423
00:17:37,050 --> 00:17:40,410
You know, avalanche towards us in all industries.

424
00:17:40,560 --> 00:17:45,240
For someone who has been a technologist and has, has done that for big legacy

425
00:17:45,240 --> 00:17:49,320
brands and has been an advisor now for many, many brands, if you were to

426
00:17:49,320 --> 00:17:52,860
give one piece of advice to a brand, uh, someone who's building a brand,

427
00:17:52,860 --> 00:17:57,780
who's listening to s today as to where to pay attention, um, into, in terms

428
00:17:57,780 --> 00:18:01,890
of the AI boom, where would you say that they should direct their attention?

429
00:18:02,820 --> 00:18:05,550
Um, I think that's an extraordinarily complicated question today.

430
00:18:05,850 --> 00:18:09,090
I think we've built so many layers now, historically, let's call it

431
00:18:09,090 --> 00:18:15,270
the last 70 years of technology layers that enable creativity, right?

432
00:18:15,660 --> 00:18:16,620
Um, that,

433
00:18:18,840 --> 00:18:20,940
and this may sound, this is probably overused and may

434
00:18:20,940 --> 00:18:24,120
sound a little trite, but ultimately if you build a

435
00:18:24,120 --> 00:18:28,410
compelling story and approach it from an organic first.

436
00:18:29,430 --> 00:18:33,629
Mentality, whether you're using organic tool sets to achieve it or not,

437
00:18:33,899 --> 00:18:36,990
you're gonna achieve something that feels authentic to that audience.

438
00:18:37,020 --> 00:18:37,230
Mm-hmm.

439
00:18:37,470 --> 00:18:40,470
It like, there was a, there was a, a, a. Period of

440
00:18:40,470 --> 00:18:42,510
time in this every three months everything changes.

441
00:18:42,780 --> 00:18:45,690
Where a lot of AI visual tools, especially when they were applying

442
00:18:45,690 --> 00:18:49,500
it to Motion, had this weird kind of glossy, sort of plasticy look.

443
00:18:49,500 --> 00:18:54,360
Like everybody had this kind of strange, like, like they got dipped in oil

444
00:18:54,360 --> 00:18:58,800
or they got dipped in gelatin, like they got pulled out of jello and, but

445
00:18:58,860 --> 00:19:03,000
you could sort of see that there was something really intriguing about the.

446
00:19:03,160 --> 00:19:06,760
Building of like synthetic humans and synthetic backgrounds

447
00:19:06,760 --> 00:19:09,760
and synthetic stuff, but it just felt a little odd.

448
00:19:09,760 --> 00:19:13,540
Like you, you tasted it and you're like, kind of tastes

449
00:19:13,540 --> 00:19:16,300
like something I know, but it doesn't taste good yet.

450
00:19:17,280 --> 00:19:20,490
In a fairly short period of time, a lot of technologists

451
00:19:20,490 --> 00:19:23,670
started to work on that problem, that problem area.

452
00:19:23,940 --> 00:19:26,400
Why does everything look kind of gelatinous?

453
00:19:26,520 --> 00:19:27,690
And then they were able to solve it.

454
00:19:27,690 --> 00:19:30,750
Now things don't look gelatinous unless you want it to look that way.

455
00:19:30,750 --> 00:19:31,230
Yeah, right.

456
00:19:31,320 --> 00:19:34,870
And then we started to figure out how to apply a. Audio tracks and do

457
00:19:35,080 --> 00:19:38,439
things with synthesized audio and lip synthesis and things that were just

458
00:19:38,800 --> 00:19:42,459
expensive and sort of archaic in terms of dubbing in multiple languages.

459
00:19:42,699 --> 00:19:46,719
You are replacing some of a, of a, of an industry that way of, of

460
00:19:46,719 --> 00:19:49,959
voice actors from many countries with a synthetic, synthetic version.

461
00:19:49,959 --> 00:19:52,990
And it's not gonna be exactly the same, but given the choice between a

462
00:19:53,050 --> 00:19:56,560
dub job where the blips are not matching the actor's voice and you're

463
00:19:56,560 --> 00:19:59,439
kinda like, I would actually just watch the subtitles to a, I wanna

464
00:19:59,439 --> 00:20:02,979
watch Great Korean content, or Indian content, or whatever it is, and.

465
00:20:03,400 --> 00:20:06,880
I can watch this language in my language and the lips will match,

466
00:20:07,540 --> 00:20:11,020
and you hope that they use the same actor's voice with the same

467
00:20:11,020 --> 00:20:14,350
intonation, and you hope that the actor has given permission

468
00:20:14,350 --> 00:20:17,710
to do that and hopefully makes money on multiple versions.

469
00:20:17,710 --> 00:20:18,100
Right?

470
00:20:18,370 --> 00:20:21,040
So there's lots of pieces to this puzzle

471
00:20:21,280 --> 00:20:24,100
where as long as it starts to feel like we're.

472
00:20:24,794 --> 00:20:30,615
Keeping the idea of organic, authentic to the style.

473
00:20:30,675 --> 00:20:30,764
Mm-hmm.

474
00:20:31,004 --> 00:20:32,504
And some of that style may be very high tech,

475
00:20:32,504 --> 00:20:34,485
like a Tron type movie or a matrix type movie.

476
00:20:34,485 --> 00:20:36,705
It doesn't have to be low tech to be organic.

477
00:20:36,885 --> 00:20:39,520
Organic can be high tech too, or futuristic as well.

478
00:20:41,040 --> 00:20:44,070
I think where things go wrong is when it's all focused

479
00:20:44,070 --> 00:20:47,580
just on spectacle and creationism and less on narrative

480
00:20:47,580 --> 00:20:50,460
and organic and authentic to the, to the audience.

481
00:20:50,520 --> 00:20:51,450
Makes a lot of sense.

482
00:20:51,660 --> 00:20:52,335
That's my 2

483
00:20:52,335 --> 00:20:52,590
cents

484
00:20:52,590 --> 00:20:52,830
on it.

485
00:20:52,980 --> 00:20:53,190
Yeah.

486
00:20:53,220 --> 00:20:55,800
'cause you can do some, you can do some ads and you can do some

487
00:20:55,800 --> 00:20:59,850
content with AI that looks so artificial and so fake that people

488
00:20:59,850 --> 00:21:03,120
are just gonna, you know, balk at it and it's gonna ruin, you know,

489
00:21:03,180 --> 00:21:06,690
potentially your brand reputation depending on how you approach it.

490
00:21:06,695 --> 00:21:06,895
Sure,

491
00:21:06,895 --> 00:21:07,175
yeah,

492
00:21:07,205 --> 00:21:07,620
yeah, yeah.

493
00:21:07,680 --> 00:21:08,490
So it makes a big difference.

494
00:21:08,490 --> 00:21:08,850
There were some

495
00:21:08,850 --> 00:21:09,630
early ads.

496
00:21:10,170 --> 00:21:11,940
And you, you kind of gotta give advertisers

497
00:21:11,940 --> 00:21:14,310
credit for at least leaning into the future.

498
00:21:14,550 --> 00:21:16,290
But you looked at it and like, this would've

499
00:21:16,290 --> 00:21:18,480
been way better to just shoot this organically.

500
00:21:18,840 --> 00:21:18,930
Yeah.

501
00:21:19,050 --> 00:21:24,390
But now a year or two later that, again, that delta, right, like that delta.

502
00:21:24,390 --> 00:21:27,510
When I started my journey working in digital cinema was massive.

503
00:21:28,170 --> 00:21:28,260
Right?

504
00:21:28,260 --> 00:21:30,660
First smartphones and first flip phones went crappy.

505
00:21:30,660 --> 00:21:32,580
Little cameras, you know, way under one megapixel

506
00:21:32,580 --> 00:21:34,110
and professional cameras were the real deal.

507
00:21:34,170 --> 00:21:34,260
But

508
00:21:34,710 --> 00:21:35,730
now look at it.

509
00:21:35,760 --> 00:21:37,530
20 years later, it took 20 years, right?

510
00:21:37,530 --> 00:21:37,920
Yeah.

511
00:21:38,010 --> 00:21:42,750
The Delta is very minor with ai that Delta is shrinking so very rapidly

512
00:21:42,750 --> 00:21:43,260
fast.

513
00:21:43,440 --> 00:21:43,620
Yeah.

514
00:21:43,950 --> 00:21:48,360
That it's hard to keep that authentic use case.

515
00:21:48,450 --> 00:21:52,620
And on top of it as if we don't already have enough content of

516
00:21:52,620 --> 00:21:55,500
just video content that's been created all around the world now

517
00:21:55,500 --> 00:21:59,280
we've got every possible form of content that used to require a

518
00:21:59,280 --> 00:22:03,300
deep VFX layer or a deep heavy production layer, and it's like.

519
00:22:03,735 --> 00:22:06,945
Independent filmmakers or student filmmakers couldn't go out and

520
00:22:06,945 --> 00:22:11,085
shoot a gigantic crowd scene or a gigantic war scene or a gigantic,

521
00:22:11,115 --> 00:22:14,655
I want to explode 40 trucks and you know, and now they can.

522
00:22:14,955 --> 00:22:18,165
So that's an amazing enabler for creativity.

523
00:22:18,345 --> 00:22:21,375
But it also adds to this crazy content clut that we already

524
00:22:21,375 --> 00:22:23,685
have that like, how do you even find the good stuff?

525
00:22:23,685 --> 00:22:23,890
How do

526
00:22:23,890 --> 00:22:24,250
you find anything?

527
00:22:24,250 --> 00:22:24,450
Mm-hmm.

528
00:22:26,100 --> 00:22:27,445
And that's why you build a brand, Chris.

529
00:22:27,715 --> 00:22:29,324
That is exactly why you build a brand.

530
00:22:29,760 --> 00:22:32,490
Gotta gotta make sure people know and trust and

531
00:22:32,490 --> 00:22:35,250
have that authenticity to, to the content itself.

532
00:22:35,909 --> 00:22:38,790
Um, and within that you can expand and you can experiment.

533
00:22:38,790 --> 00:22:40,439
I think that's one of the fun things about.

534
00:22:40,600 --> 00:22:43,570
This new technology and about AI is, it does

535
00:22:43,570 --> 00:22:46,090
open the door for newer creative possibilities.

536
00:22:46,090 --> 00:22:48,610
I know it was set on stage, but talking about using it to

537
00:22:48,610 --> 00:22:52,450
pitch, using it to get ideas out faster, I think marketing

538
00:22:52,450 --> 00:22:55,750
agencies really benefit from, um, being able to do that.

539
00:22:55,750 --> 00:22:58,060
I know I've benefited from pitching a client

540
00:22:58,060 --> 00:23:00,460
on, Hey, here's a silly video we're gonna do.

541
00:23:00,760 --> 00:23:02,135
Here's my idea and here's all the.

542
00:23:02,430 --> 00:23:03,030
Frames.

543
00:23:03,030 --> 00:23:06,240
And they had, even though it was inconsistent at the time,

544
00:23:06,240 --> 00:23:09,270
I was able to show like the, the storyboard just using that.

545
00:23:09,270 --> 00:23:12,900
Because prior to that, this is how fancy I am, I was using stick figures.

546
00:23:13,290 --> 00:23:16,680
So, so you know, it's far and away better than that.

547
00:23:16,830 --> 00:23:20,520
And, um, you know, for folks like me who may not be the best illustrators

548
00:23:20,520 --> 00:23:24,240
and have a small team, like it's a huge difference in how you.

549
00:23:24,315 --> 00:23:27,075
Pitch, how you communicate, how you share with people.

550
00:23:27,105 --> 00:23:27,225
Yeah.

551
00:23:27,255 --> 00:23:30,135
Being able to use these technology tools to up your game.

552
00:23:30,165 --> 00:23:30,525
Right.

553
00:23:30,615 --> 00:23:32,085
Um, is really interesting.

554
00:23:32,085 --> 00:23:33,120
And we talk about, you know.

555
00:23:34,425 --> 00:23:36,645
Pre, pre pixel, like things that are only gonna

556
00:23:36,645 --> 00:23:39,135
be shown within pitch meetings and and ideas.

557
00:23:39,135 --> 00:23:41,595
And then getting close to final pixel.

558
00:23:41,715 --> 00:23:42,225
Yeah, pixel.

559
00:23:42,375 --> 00:23:45,645
So maybe temp effects and things that you may actually show to a test audience.

560
00:23:45,675 --> 00:23:49,245
And then final pixel or commercial pixel, like you're delivering this

561
00:23:49,485 --> 00:23:53,025
as paid media or media that's gonna go out to the world to an audience.

562
00:23:53,025 --> 00:23:53,115
Mm-hmm.

563
00:23:53,415 --> 00:23:57,254
And not just a test group or studio executives or people

564
00:23:57,254 --> 00:23:59,475
you know internally that are stakeholders are gonna.

565
00:23:59,835 --> 00:24:03,345
Give you a, a, a green light or a red light on something.

566
00:24:03,645 --> 00:24:05,145
That's an interesting kind of where do you

567
00:24:05,145 --> 00:24:07,185
draw the ethical lines of how it can be used.

568
00:24:07,635 --> 00:24:12,435
The other thing is, what's also kind of fascinating to me is that a lot

569
00:24:12,435 --> 00:24:17,535
of really important distinguished filmmakers of all form, whether they're.

570
00:24:17,939 --> 00:24:21,540
Creating new, new fangled stuff on YouTube or TikTok or traditional

571
00:24:21,540 --> 00:24:25,080
cinema artists, creators, or traditional streaming media are

572
00:24:25,080 --> 00:24:27,870
actually using a lot of these tools and not talking about it a

573
00:24:27,870 --> 00:24:27,959
lot.

574
00:24:27,959 --> 00:24:29,014
Oh, they're all not talking about it.

575
00:24:29,020 --> 00:24:29,040
They're

576
00:24:29,040 --> 00:24:30,719
just like, just like the effects.

577
00:24:30,719 --> 00:24:34,409
It's like, yeah, like the times where we actually have to really like

578
00:24:34,560 --> 00:24:37,709
flip and wreck a car now, because within a game engine, you can make

579
00:24:37,709 --> 00:24:41,189
a photo realistic car and you can actually do that, but you don't hear

580
00:24:41,189 --> 00:24:43,679
a lot of people talking about, yeah, we didn't use any real cars here.

581
00:24:43,709 --> 00:24:44,070
Yeah,

582
00:24:44,070 --> 00:24:45,510
you want the illusion.

583
00:24:46,240 --> 00:24:46,699
To work of.

584
00:24:46,699 --> 00:24:50,264
You want the magic trick of for the audience not to know how it was done.

585
00:24:50,324 --> 00:24:51,165
Of course,

586
00:24:51,165 --> 00:24:54,179
you want them to just enjoy it, enjoy the experience and and

587
00:24:54,179 --> 00:24:56,655
a full experience and go, wow, how the hell did they do that?

588
00:24:56,655 --> 00:24:57,375
Absolutely.

589
00:24:57,379 --> 00:24:57,580
You know, when

590
00:24:57,584 --> 00:24:59,445
you like talking about when you create visual, that's kind, kind been the

591
00:24:59,449 --> 00:25:02,219
fun of movie making from the beginning, the Moon magic, the very

592
00:25:02,300 --> 00:25:04,100
earliest stages, the movie making from the beginning, from all

593
00:25:04,125 --> 00:25:05,895
the back to George Malaises and the Man in the Moon.

594
00:25:05,895 --> 00:25:06,645
Absolutely.

595
00:25:06,645 --> 00:25:06,945
You know, a

596
00:25:06,945 --> 00:25:09,014
hundred plus years ago, 120 years ago.

597
00:25:09,060 --> 00:25:09,260
Absolutely.

598
00:25:09,435 --> 00:25:10,215
Absolutely.

599
00:25:10,245 --> 00:25:10,514
Using

600
00:25:10,514 --> 00:25:12,975
the trickery that he had of his time.

601
00:25:13,335 --> 00:25:15,015
To sort of fool people.

602
00:25:15,135 --> 00:25:17,745
And yes, you could kind of now see, well, that's not a

603
00:25:17,745 --> 00:25:20,055
great illusion today, but back then it was kind of amazing,

604
00:25:20,535 --> 00:25:21,495
fascinating time.

605
00:25:21,495 --> 00:25:25,995
We have the democratization on one side of, of all, all people being

606
00:25:25,995 --> 00:25:29,655
able to use, utilize these tools to create, which is so beautiful.

607
00:25:29,985 --> 00:25:33,465
And you have the overs saturation of the markets on the other side.

608
00:25:33,795 --> 00:25:38,325
It'll be interesting to see how, uh, the leading horse takes the race.

609
00:25:38,325 --> 00:25:38,385
Yeah.

610
00:25:38,385 --> 00:25:38,565
Here we

611
00:25:38,565 --> 00:25:38,895
go.

612
00:25:39,015 --> 00:25:39,255
Right?

613
00:25:39,315 --> 00:25:39,435
Yeah.

614
00:25:39,930 --> 00:25:40,440
Awesome.

615
00:25:40,440 --> 00:25:41,700
Well, Ted, thank you so much.

616
00:25:41,700 --> 00:25:42,780
My pleasure on today to do it.

617
00:25:42,780 --> 00:25:43,620
This has been really great.

618
00:25:43,950 --> 00:25:46,350
One thing I always like to ask before the end of every interview

619
00:25:46,350 --> 00:25:49,860
is, um, you know, what brand do you admire the most right now?

620
00:25:49,860 --> 00:25:53,100
Or maybe what brand has influenced you as you,

621
00:25:53,640 --> 00:25:55,650
um, you know, as you go about your advising.

622
00:25:57,090 --> 00:25:59,159
Well, big brands, I think you may know the answer

623
00:25:59,189 --> 00:26:00,990
'cause I sort of led you down this garden path.

624
00:26:01,050 --> 00:26:01,169
Right.

625
00:26:01,169 --> 00:26:01,379
I think you

626
00:26:01,379 --> 00:26:01,800
already know

627
00:26:01,860 --> 00:26:06,659
the, the fruit company outta Cupertino has always been a brand that, uh,

628
00:26:06,689 --> 00:26:09,840
through its evolution, although it, you know, it stumbles every now and

629
00:26:09,840 --> 00:26:12,990
again, but never really falls in my eyes and many other people's eyes.

630
00:26:13,230 --> 00:26:13,320
Mm-hmm.

631
00:26:13,409 --> 00:26:17,594
Um, is, you know, apple has always been kind of a, a, a,

632
00:26:17,850 --> 00:26:22,199
a stake in the ground of an important technology leader.

633
00:26:22,620 --> 00:26:23,219
Um.

634
00:26:23,775 --> 00:26:29,985
In terms of tiny little like, or maybe not so tiny, but um.

635
00:26:30,825 --> 00:26:34,365
I'd have to, I'd have to put more thought on it, but certainly, uh, what's going

636
00:26:34,365 --> 00:26:38,715
on with bespoke AI models, like what Moon Valley is doing for the entertainment

637
00:26:38,715 --> 00:26:43,245
industry, kind of licensing content and then building that is intriguing to me.

638
00:26:43,635 --> 00:26:44,295
Um, and

639
00:26:44,295 --> 00:26:46,845
they're doing it an ethical way they've licensed.

640
00:26:46,845 --> 00:26:48,000
So that's all obviously.

641
00:26:48,270 --> 00:26:48,560
Yeah.

642
00:26:48,955 --> 00:26:50,064
Put them kind of ahead.

643
00:26:50,064 --> 00:26:51,320
I think I'm involved mindset.

644
00:26:51,320 --> 00:26:51,564
I'm involved in an

645
00:26:51,564 --> 00:26:55,615
array of startups that are all doing what I think really interesting things.

646
00:26:55,615 --> 00:26:56,784
I mentioned riff.

647
00:26:57,115 --> 00:26:59,304
There's a company called IR Code that I'm involved in.

648
00:26:59,304 --> 00:27:02,574
There's a company called gon, which is volumetric Capture that I'm involved

649
00:27:02,574 --> 00:27:07,014
in, and a whole litany of other things, uh, that I get to play in these

650
00:27:07,014 --> 00:27:10,524
early, early stage sandboxes and see where they go and where they head.

651
00:27:10,524 --> 00:27:12,595
It's kind of, it's a really fun and intriguing

652
00:27:12,595 --> 00:27:14,605
part of a, a career arc to be able to do that.

653
00:27:14,610 --> 00:27:14,669
So

654
00:27:15,389 --> 00:27:15,840
very cool.

655
00:27:15,840 --> 00:27:18,360
We'll have to make sure everybody takes a look at those brands.

656
00:27:18,360 --> 00:27:22,169
Can you tell everybody where they can find you if they like to find your word?

657
00:27:22,175 --> 00:27:22,495
Um, yeah, sure.

658
00:27:22,574 --> 00:27:25,199
I mean, like, you know, I do a lot of speeches and presentations

659
00:27:25,199 --> 00:27:28,379
around the world, so of course I have a, a website that's just my name.

660
00:27:28,379 --> 00:27:30,179
So it's ted schitz.com.

661
00:27:30,719 --> 00:27:30,975
Uh, you just.

662
00:27:31,635 --> 00:27:33,794
Google my name, you'll probably find it.

663
00:27:33,794 --> 00:27:35,865
And lots of other stuff I did for Red and gtech

664
00:27:35,865 --> 00:27:37,245
and all these other things over the years.

665
00:27:37,665 --> 00:27:39,705
Um, so that's an easy way to find me.

666
00:27:39,975 --> 00:27:44,445
Um, and then I do a podcast with two close friends, Charlie Fink and Rony Aboit.

667
00:27:44,685 --> 00:27:47,955
We do a, a weekly podcast called the AI XR podcast that we talk

668
00:27:47,955 --> 00:27:52,095
about AI and extended reality immersion tools and visual stuff,

669
00:27:52,095 --> 00:27:54,945
and all the VR and xr, uh, stuff that we've been involved in.

670
00:27:54,945 --> 00:27:57,254
That's called the AI Ai XR podcast.

671
00:27:57,575 --> 00:27:58,325
Quite popular.

672
00:27:58,325 --> 00:28:00,905
It's cracked the top 100 in the Apple.

673
00:28:00,910 --> 00:28:01,080
Congratulations.

674
00:28:01,325 --> 00:28:02,075
Congratulations.

675
00:28:02,075 --> 00:28:02,795
That's a lot of people.

676
00:28:02,795 --> 00:28:03,305
Listen to it.

677
00:28:03,425 --> 00:28:03,935
Congratulations.

678
00:28:04,060 --> 00:28:04,290
Got a

679
00:28:04,290 --> 00:28:06,185
million plus used listeners.

680
00:28:06,185 --> 00:28:06,905
It's kind of great.

681
00:28:07,295 --> 00:28:07,745
Um.

682
00:28:08,415 --> 00:28:12,465
And lots of other pieces and parts, but you, you just, just search for my name.

683
00:28:12,465 --> 00:28:14,805
You'll find all kinds of crazy stuff that I've been doing over the

684
00:28:14,805 --> 00:28:18,075
years in the, in the media sphere, even though I don't, I don't, I don't

685
00:28:18,075 --> 00:28:21,465
use the traditional sort of social channels that a lot of people use.

686
00:28:21,465 --> 00:28:27,315
I tend to find it a little, uh, toxic for me, but I use kind of old school media

687
00:28:27,315 --> 00:28:31,215
tied to a new school interface, which is, you know, YouTube and all the other.

688
00:28:31,365 --> 00:28:33,195
All the other forms of you can find me out there.

689
00:28:33,195 --> 00:28:33,730
I'm all over it.

690
00:28:33,890 --> 00:28:34,095
It easy to find.

691
00:28:34,095 --> 00:28:34,755
Definitely send

692
00:28:34,755 --> 00:28:35,985
people to check you out just

693
00:28:35,985 --> 00:28:36,290
like this.

694
00:28:36,390 --> 00:28:37,330
I'm sure you know, I'll

695
00:28:37,770 --> 00:28:38,505
absolutely link to this

696
00:28:38,505 --> 00:28:40,335
podcast and find it that way.

697
00:28:40,935 --> 00:28:43,005
Thank you so much for, for being here.

698
00:28:43,005 --> 00:28:45,435
And Chris, thank you so much for having me on.

699
00:28:45,585 --> 00:28:47,055
We built this brand today.

700
00:28:47,055 --> 00:28:48,885
I think Ted's our last guest, so

701
00:28:48,970 --> 00:28:49,290
I think so.

702
00:28:49,305 --> 00:28:49,875
Appreciate

703
00:28:49,875 --> 00:28:50,535
being here.

704
00:28:50,565 --> 00:28:50,805
So this

705
00:28:50,805 --> 00:28:51,825
is like too tandem.

706
00:28:52,205 --> 00:28:52,715
Podcast.

707
00:28:52,715 --> 00:28:53,590
You're looking together.

708
00:28:53,590 --> 00:28:55,445
You're, you're you're doing It's Coco.

709
00:28:55,445 --> 00:28:56,315
It's a crossover.

710
00:28:56,320 --> 00:28:57,030
It's a crossover.

711
00:28:58,235 --> 00:28:58,385
It's

712
00:28:58,385 --> 00:28:59,235
a crossover episode.

713
00:28:59,235 --> 00:28:59,274
It's a crossover episode.

714
00:28:59,274 --> 00:28:59,470
Episode.

715
00:28:59,470 --> 00:28:59,629
Episode.

716
00:28:59,635 --> 00:29:00,155
So now it's a tri.

717
00:29:01,090 --> 00:29:01,865
We got three of us.

718
00:29:02,105 --> 00:29:02,254
In

719
00:29:02,254 --> 00:29:03,754
my early days of television.

720
00:29:03,995 --> 00:29:06,004
We used to call this a very special episode.

721
00:29:06,060 --> 00:29:08,070
This is, it's a very special episode.

722
00:29:08,500 --> 00:29:08,990
Episode.

723
00:29:08,990 --> 00:29:09,510
It's what we're gonna

724
00:29:13,024 --> 00:29:13,805
Oh, thank you so much.

725
00:29:13,805 --> 00:29:14,045
Yes,

726
00:29:14,045 --> 00:29:14,550
thank you, Ted.