This week's session was all about how to take your daily work with clients and use it as your content. Here's what we covered: The gear (keep it simple)You don't need a cinema rig. The DJI Osmo Pocket is a great weapon of choice — stabilisation, face tracking, wide angle, pairs seamlessly with DJI mics. Sony ZV1 is also still a solid option. For a light the zhiyun molus x100 pro kit kicks ass, powerful and is small and easy to use. Buy secondhand off Marketplace or Gumtree (someone always buys the thing, uses it twice, and lists it for half price). Full setup including lights and mics? Around $1,768. The three BTS content types 1. Raw BTS — film yourself doing the work. With clients, in your studio/office, at a shoot. Make it feel like the viewer's there. Wide angle, natural, a bit rough. That's the point. 2. Project breakdowns — show the before and the after. What they came with, what you gave them. This removes the fear people have about the unknown before they buy. 3. Documentary style — more structured. Intro the client, set the problem, show the solution, close with a statement. Think surgeon documenting a hip replacement. There is a version of this in every industry. On asking permission to film. Just set the camera up and get on with it. Clients feed off your energy. If you act like it's normal, they'll think it's normal — because it is. Get a model release form sorted if you're in a more sensitive industry. Frame it as "helping other people understand the process" and most clients will say yes. Dedicated camera > using your phoneYour phone is for messaging, Instagram, and being distracted. A dedicated camera means you can film and still text, teleprompter, whatever. Low friction = more content. Communication as a meta-skillContent isn't just content — it's learning to communicate. Cadence, pauses, consolidating your thoughts before you open your mouth. These skills don't just make better videos. They make better client conversations, better pitches, better everything.

The second video I wanted to share is another 20 minute joy to watch. It looks like it's about Classical Music... but it's about so much more. When I was asked to present to a masterclass group of Advertising Account Directors and Strategists on the topic of 'How to write a great brief', I spent 20 minutes on that and then 40 minutes on how to 'energise' the brief - including having them watch this entire video together. It's a truly transformational way of looking at the world. Enjoy... and then, again, let's talk about it :)

Soooo we ditched what i had scheduled and ripped into Elle's current sales funnel to see how we could improve it. Some Key Points 1. Make a shiiittt tone of ad creatives so that you have plenty to feed meta to test what works. Film separate hooks, bodies and CTA's so that you can mix and match them to see which combo works better. Also... make sure you script your ads. 2. Less is more on a landing page. You don't want massive blobs of text at the top of the page (or anywhere for that matter) people need to be able to skim it, get the gist and decide weather or not to buy 3. VSL can be as long as it needs to be. Elle's VSL (video sales letter) was actually really good but it woulda been great it she had how the process of working with her worked in it. Don't be scared to make a VSL longer if everything in it is useful and your ideal customer would want to know it. They will watch it. Just don't waffle. I think this was really great to do live and thank you Elle for letting us work on your funnel! Luke

This was a really fun deep dive to crack into as ive been obsessing over it the last couple of weeks as ive been leveling up my story telling. The frameworks came from studying Shaan Puri, a writer and storyteller who's style i froth. I kicked off with a fun coffee machine story that has happened to me recently that we used as reference to illustrate some of these points. Here's what makes a story land: The fundamentals: - Every story needs a hero with a clear intention and something standing in their way. At any point in the story, you should be able to answer: what do they want, and what's blocking them? Lose that thread for five minutes and you lose your audience. - There has to be a five-second moment of change — one specific turning point where the character flips. Not a vague epiphany. Something concrete that triggered it. - Keep the stakes low. Everyday frustrations are more relatable than near-death experiences. The emotion does the heavy lifting, not the drama. - The end needs to be the opposite of the beginning. Anger → bliss. Hated it → fell in love. Every good film follows this. - Zoom into moments, don't summarise. Don't say "I was struggling" — show what struggling looked like. One specific image does more work than a paragraph. - Show the effort, not just the result. Audiences invest in how you try, not whether you win. - Have four or five signature stories ready. Stories someone could hear and know everything essential about you. Voice and writing style: - Write like you talk. School taught you to write for an audience that doesn't exist. - Write to one person, not a crowd. They're reading it alone on their phone. - Break the fourth wall in writing — call out what they're probably thinking before they think it. - Interesting thinking beats interesting writing. Substance first, packaging second. You need both, but the thinking comes first. - Build a binge bank — a library of content so that when someone gets curious, they can go deep. One post doesn't need to go viral. It just needs to exist. Fifty engaged people beats a million who don't care.