The Steadicam Operator with Tony Reyes [Ep200]

Steadicam Operator Tony Reyes joins us all the way from Beijing, China, in the middle of shooting for the Winter Olympics, to discuss his career as a steadicam operator. We’re discussing all aspects of his career from where Tony got started to his position today. Steadicam ops are a highly demanded professionals in the industry and operators like Tony Reyes are killing it in this area.

Transcript

All right. Welcome to this very, special episode of what is now called the Miami video podcast. Let me explain. Yes, it is true. We are changing the name of the podcast. It's going to take a completely different episode. Dive into why we're doing this move. But basically after speaking with counselors, advisors, mentors, and even pastors of mine, a successful business people, I've made a decision to completely rebrand my business and everything that I do.

I, there just a lot of things that I was. My business, the podcast, a blog, the film school account way too many things for them to have their own separate entity. And yes, my business. And what I want to continue to do is my production company, which up until now has been Ariel Martinez films. So now I am completely doing a rebrand, a reframe.

Now, starting from scratch, but just kind of point everything in the same direction. So the name of my new company. Well, same company, the new name of the company is Miami video services. Uh, yes, I am very much targeting. A lot of Miami productions doesn't mean that I can't travel or. Those kinds of jobs, because I still have the same clientele, but I've never, ever put effort into marketing locally.

So here I am kind of explaining what I said it was going to take forever, but essentially, no, that is just the name of my new company. And therefore I needed to await to bring the podcast under my. Um, and sort of continue to have everything flowing through the same channel over to kind of the same base.

I, it was just getting way too much. The podcast had its own website, film school had his own website. My business has its own website and it was just getting way, way too much. So I kind of need to kind of consolidate. Just about everything that we're doing. So from now, moving forward, this is no longer the I film maker podcast.

This is now going to be called the Miami video podcast. Thank you guys for joining us. My name's Earl Martinez. By the way, nothing changes. And as far as the content here, everything's going to stay the same. The only thing that's going to be changing is the name that is all. And of course the logo and whatnot.

And as you can see, we've embraced Miami. I am born and raised in Miami. These are my colors, and I'm basically, uh, embracing all of what Miami is. And I know it has. Miami BICE type of vibe going on, but this is it. This is the Miami video podcast. So thank you guys for staying on. And, um, it's funny cause I'm very, very excited about this.

Um, I'm I'm I now finally feel like, yes, I'm putting more effort toward my business. Not just effort toward a bunch of different entities. Pushing pushing too many things in too many directions and everything's going in one direction and that's kind of the advice that I was receiving. And by the way, speaking of advice, and just talking to other people, I recommend you guys do that as well.

The people that you seek advice from just, they don't have to be professionals in your industry. And this industry I'd get advice from people that own it companies that do software development that do arts and graphics and just different than. But the fact is they can still help me. I can still get a bunch of nuggets from all these successful business people.

There's no reason why I can't take advice from them to help me run my business successfully. So, um, I've been doing it my entire career, and this is just another step that I am taking. In order to continue moving forward. And basically things can continue to expand owner. My name, my company has gotten bigger than just me, so I needed a way to scale and grow.

And that was the advice that was given to me anyways. Again, I'm not going to go too in depth with this, but Miami video. Welcome everyone to the show. So on this episode, I was able to get my friend, Tony Ray is I've been following Tony for a long time on social media. The guy does incredible work. He's all over the place.

I see him all the time on NFL sidelines, the guy is just doing phenomenal work. And most recently, actually, as of recording this podcast, he's actually joining us from Beijing, China, where he's actually covering the winter Olympics. Um, and you know, we're like basically a whole day apart in terms of timing and what not.

He's on the other side of the world. So I appreciate Tony taking the time to sit down with me and discuss basically his scope of work as a steady cam operator. So this is going to be part of a series of industry professionals that I want to continue to do. Uh, podcast, I've done audio before. Um, I've done the, the, the, the, I guess I think another audio one as well.

Um, and I want to continue to bring industry professionals to kind of speak on that specific niche of the industry. And this one we're talking about steady cam operating actually used to want to be a steady cam operator myself, but I kind of just kept gravitating towards. What I do now, and that's kind of what I, uh, just enjoy doing, but I, I love steady cam operating.

I've done it maybe a couple times. It wasn't my steady cam of course, but it was, it was fun. I liked it. Uh, so, uh, Tony raised someone that. Killing it right now, killing it, killing it, doing a phenomenal job, uh, just all over the place. And I appreciate him taking the time out over from the other side of the world to sit down with us and talk and answer a few questions.

And I love his responses. Actually. He gave some great stuff on. Make friendships, how to network, how even film school was beneficial for him. Uh, and he just shares a lot of great knowledge and nuggets on that. So, uh, I hope you guys enjoy this episode and I'll see you on the other side, Tony Reyes. Thanks so much for coming on the I film maker podcast.

How are you? I'm doing well. Uh, thank you very much for having me. It's so exciting that you are at the Beijing Olympics while we're recording this. I think that that is so cool. We definitely want to get into that before. Yeah, definitely. Um, it's pretty bizarre. I know we were speaking a second ago and I think 6,000 something miles away and, you know, plus 13 hours from where you are in Eastern.

Right.

Oh man, you just got up. What time is it over there right now? So, um, it's about to be, uh, 9:00 PM here. 9:00 PM. And it is Tuesday on Tuesday. It is 8:00 AM in the right now on Tuesday where I am. Yeah, I'm glad this worked out. I've actually, uh, last week I missed a meeting like this because I completely thought it was the next day.

So I bet that that can get quite annoying. It is. Yeah. And then even like, I, you know, I try to still stay engaged with clients at home and communicate with them, but you know, I'm sending text messages at like 4:00 AM or trying to still be receptive and engaged with my work. Yeah. Oh, geez. Well, I'm glad we were able to make this work.

I appreciate you taking the time out and, uh, and, and coming on the show and talking about your scope of work and whatnot. Um, so, you know, obviously with this episode, I want to kind of, uh, go into and discover your work as a steady cam operator. Um, but you know, before we get into that, I would like to see how you got started in the industry.

How with what you got started? Were you a camera operator first? How did you sort of transition over to being a steady cam operator? Okay. Um, so. I, uh, let's see. I mean, I could go all the way back, like, you know, did some video photography or video graphy type classes in high school. You know, my art teacher helps, you know, start the program at our school.

So that was junior and senior year. Then I went to a college at, uh, middle Tennessee state university MCSU, um, and did their, uh, their TV production program with a minor in film studies. And then I also. Uh, two internships with a small production company out in San Diego. Um, and that, that guy that was, he was kind of a, my men, my mentor at the time he wanted me to be a camera assistant.

Um, so he kind of pushed me in that direction. Um, and he told me to go get a job at a rental house, a camera rental house in town. And this was probably 2006. I think 2005, 2006, but either way, you know, I got out of right graduated MCSU. I went into the production industry in 2008 and, uh, I worked as a production assistant, a PA for about two and a half years.

And then maybe at the end of that two years or so, I went into, you know, kind of low level type camera work, you know, Um, and you know, low, low level ish, you know, grip type work. Um, and, uh, then you're getting kind of the long story here, by the way. That's okay. I'm loving it. It's all right. We can always edit if we need to.

I don't see why. Okay. Great. Good, good. Um, but from there, um, I would say like a big break for me is I, I started doing some touring, uh, in my market. It's kind of a big touring type market, like on, with a band or a corporate, you know, event or speaker or something. Um, but I was on a Christian women's conference called women of faith.

Uh, did that for about two and a half years, and I basically saved up enough money to buy my first steady. And I bought, yeah. I bought an old used master series, a steady cam. I saved up about 12,000 bucks and bought something, you know? And, uh, yeah, it, you know, some of it was working, some of it wasn't, you know, and I didn't know any better anyways, so.

But it was, it was the right kind of gear, you know, at the time, you know, to just dive in and go for it. Um, I, uh, I wish I could say that, you know, there was, I didn't really have like a relative that was in, in the, in the industry. I didn't know a steady cam operator necessarily. Like they weren't all around me.

Um, but I sorta just took the plunge, um, and went for it and I should say. There's a like amazing steady cam operators. Name's John Perry who does a lot of live stuff. Um, he did like, you know, American idol when American idol was huge. Um, and he's a phenomenal live steady cam operator. I mean, probably, I don't know, top 10, top five in the world, in my eyes for lifestyle, especially.

Yeah. Live in particular. Um, very interesting. And how did you decide. Steady cam is the way to go. Like, did you see someone operating at some point decided, man, I want to try it. I would say the first time I can remember it being even just sort of an idea was, you know, doing that, that internship. I don't know if it was the first or second one, but I remember vocalizing it and I was like, I kind of want it, you know, go into steady cam and, uh, it's even.

I was afraid to even say it, you know? So it's kind of scary, you know, cause it's that intimidating, huh? Yes. It's such a real thing. Um, and it was such a big dream for me, uh, to do that. And um, then as I was finishing up school, one of my professors told me about John Perry and I kind of looked him up and I was like, oh wow, this.

The real deal. And I emailed him. I didn't hear anything for a few months. And then my professors said, I'll email him again. He's a busy guy, emailed him again. He let me come on set and watch him work. And, uh, I can say without a doubt, Like, like the hooks were in and I was like, this is what I want, wants to do.

I watched him, it was in the opera, which is a very famous venue in Nashville. It's a big country music venue where we are, but, uh, I watched him walk up steps, you know, go around, uh, country artists, you know, pause and then unravel around the artist and then go back down the steps, like all in one tape. And, you know, this is of course before gimbals, before, you know, the electronic stabilization that we have now and the shot was just perfect.

It was amazing. Yeah. And, you know, seeing him work, like I'm kind of getting goosebumps right now, thinking about it like that. That was what locked me in, you know, and then I think the next day too, he was like, you know, maybe you realized as you know, into it and passionate about it. Uh, he let me come and watch him another day.

I think it was the next day I did another venue and did another crazy move, you know, w you know, live with, um, with a host doing a standup, and they're introducing an artist on a stage. Um, if you like, when you did the intro or whatever, goes through a hallway, goes downstairs, you know, zooming into the stage.

And it was just amazing. Wow. You know, watching him work. So that's a very, you know, easy answer for me. Like those, those couple of days where. Pivotal moment in my career. How many questions did you ask while you were, uh, with, I know that when I was getting started, I would ask a ton of questions. People probably onset, and this is me as a PA uh, people, uh, would probably get annoyed, but I would ask a thousand questions regarding their work and not just camera operators, audio guys, uh, gym operators.

Okay. All those. So you, you were very, very intrigued by this Teddy cam and that's what it locked you in. That's incredible. Yeah, that's awesome. I don't like, I think because, um, I had to be like a fly on the wall. Um, so it's like, and even like, after he did that shot on the second day, excuse me, he got me a spot in the TV truck, so I could just watch his monitor.

So, uh, I it's almost like I was just kind of just watching this guy work, you know, and watching him interact with his utility, uh, his cable person, you know, and interact with the director and other, you know, other people, you know, on the set. So I didn't get to ask a lot of questions. In fact, he, you know, and all this stuff, I mean, I, you know, the guy is such a busy guy.

I, I would email him occasionally, but we didn't have like a big dialogue or anything. But, uh, he really helped me get some of my first production assistant work. You know, that year, this is, I guess it was 2008. Um, that was during the whole housing crisis. And there, there apparently work, there wasn't much work.

I wasn't even aware I was going into a market, you know, that didn't have a lot of work at the time. Um, and I remember, yeah, you know, the production manager came around the corner and, you know, he introduced us and, oh, Hey, here's Tony, you know, he's trying to be a PA blah, blah, blah. And that's how I got some of my.

Good production. Assistant work was through him. Wow. Wow. So fast forward to you picking up your own steady cam operator. You start, I guess, marketing yourself, letting people know that you have it. Yeah. So, um, I think everyone has like a different way. I think everybody has a, um, like a different way and a different journey of how they get to where they want to be.

Um, for me, for me, it was, I, you know, I bought that steady cam and I think it was the summer of 2011. And, uh, you know, those first six months or so I was doing jobs, you know, low, very low or no paying steady cam type jobs for, you know, friends, you know, clients that knew me well. Um, and I was terrible. I think, uh, you know, that first.

I say the first two to two and a half years was me just getting out there and getting my feet wet and getting on as many sets as possible. And working as a steady cam operator, I'd say at the end of year three, I started to feel like more of a competent, a steady cam operator where I was contributing to the production creatively.

And, you know, I had something to offer two to three years into it after you purchased your while, I'd say so. Yeah. Yeah. But, um, but I really love. And respect the craft of steady cam too, you know? Um, so I don't know that I would say I'd say two to three years. Yeah. And even, you know, to where you're comfortable saying, you know, I need X amount of dollars for my rate and X amount for my rental, you know, to where you feel like, yeah, I deserve this.

Yeah. One of those things. Did you do any other jobs in addition to that, were you ever hired as a camera operator sound maybe as a videographer in general? Yeah. Yeah, definitely. Um, so I would say I've been doing steady cam for 10 years now. Um, all the way up until, I don't know. I would say you're seven through, up to now, like, all I'm doing is steady cam work, which is what I really wanted.

Um, but yeah, you know that, you know, the. Six years of me doing steady cam I didn't, I wa I, I wasn't able to only do steady cam. Right. So I would do, I would still go, you know, run a regular camera. Um, especially in that, those first couple of years, you know, I'd still go. Certain do some grip type work, you know, on small productions and stuff like that.

Yeah. That's good sound. You don't want me doing sound?

That's good to know. Um, and you always knew that you only want to do steady cam, like that was your happy place there. Uh, yeah. Yeah, I would say so. Like, it was, it was a dream to just. You know, travel around and only work as a steady cam operator. Yeah. And so in between shoots, when you weren't getting hired, how much would you practice steady cam when you weren't being paid for it?

Like, is there, is there a point where you felt, okay. I think I'm at a place where I'm not sort of out loud saying I don't need practice anymore. You feel less and less inclined to practice, uh, to do stuff outside of sort of, uh, in between jobs there. So in all honesty, um, I did not practice a lot, so I would say in the beginning, um, I would put it on and walk around my apartment and practice in that way.

Um, or pull, you know, pull this stuff out and kind of clean things or rig things up, you know, in different ways that I wanted them to. But, um, I can't, I can't say that. I I'm not, I just like crazy. So it, so do you think that that would have kind of excelled you a little bit because, or maybe not because you just weren't getting the work anyways, or do you think that you would have been a little more, uh, advanced?

That's a good question. Yeah, it probably would have helped me a little bit. Yeah. Had I practiced a little more there in the beginning? Yeah. Yeah. I'm wondering, you know, if you couldn't go on set and kind of basically show off something that you've been practicing and learn and, and give directors options of different types of shots that you can do, maybe that would have resulted in more calls or more.

Right. Yeah, I would say so. I, I mean, I don't, I don't know. I don't know necessarily that it would have helped me like a substantial amount, but quantify that. Yeah, I would, I would say, you know, it may have moved me along a little quicker, maybe 10, 15, 20% faster. I'd say, you know, something like that. Got it.

And when you would get jobs, when you were still doing. Trying to do only steady cam. You were still doing other jobs and whatnot. Would you take jobs and sort of inject steady cam services in there? Yeah, I would say, um, I would, you know, kind of, you know, let people sort of know that I had the steady cam and, um, you know, all the way up until I did have it.

Let's see. Oh, eight or 9, 10, 11. So it's like four-ish five years. This is actually, I think this was crucial for me because. You know, I, I spent about four or five years building up a reputation for myself as, you know, a hard worker. Um, I paid attention. I bought into the production. I was engaged. Um, I was useful.

I was helpful. Um, you know, I was, uh, uh, good to decent camera operator. You know, I knew a little bit about lighting and, you know, setting up lights and breaking them down and then kind of the same thing in the touring world, which is a whole other, you know, version of. But I think me doing that and setting up that, I guess, that branch for myself, um, then it's like, okay, well now this sky that we like here now, he has a steady cam, you know, so that it really helped me.

Um, yeah. Great. Um, so you mentioned, so let's, let's get into kind of like the, the, now the more broad scope of your work right now. Um, you're working for the Titans. You do a lot of work for the, for them in the NFL, you mentioned live music, sort of music videos. You mentioned touring a little bit with touring.

So I'm like, it's, it's sorta like, like what you'd see, I guess, like in the movies, like when you're a roadie, you know, out there with the band, I'm like, yeah. You know, like, I that's what I mean by. Yeah. I'd like I did a big tour with, um, with, with Bon Jovi through Europe in 2019. Come on for 10 weeks. Yeah.

Holy cow. Okay. Yeah. But, um, you know, in that world, you know, when you're, you know, you're, you're part of the, um, the crew in that way, I was a part of the bitten, you know, there's a video crew audio there's. Yeah, there's the line that supports the band. Um, you know, and then it kind of breaks off from there.

Uh, but I was a part of the video crew, so we built a massive video wall at every, every place. So it's like, yeah, I'm coming in as a steady cam operator, but it kind of humbled me a little bit. Uh, cause you know, you have to really work your butt off. And, you know, lift big, heavy led walls and, you know, work with the stage hands together.

Um oh, because they asked that you had to have kind of your hands on that as well. Yes. Yeah. And like, it's, it's kind of a different thing. You know, I know there are some steady cam operators that maybe would have like white gloved it a little bit, you know, to where, you know, they come in and they're only the steady cam operator, but that wasn't necessarily the deal we had, you know, going in.

I would, I would have to do something. I, I maybe could have pushed back a little bit, but that's not really my nature. Uh, you know, to shy away from hard work, especially if my crews, you know, busting their butt out there. That's super interesting. That's a, that's a great approach on that. I mean, you know, giving the client a little more than one.

Is really your job description, right. You know, this time it could be building a wall, but on other jobs that I would get, you know, I'll help them source a crew if they need to, uh, you know, things that are not really in my job description, but, you know, providing, uh, I have a whole episode on providing a service for your clients, you know, and kind of servicing and how we're basically.

A professional, like you and myself, we're, we're expected to know what we're doing at this point. We're expected, you're expected to know how to manage a steady cam operator, but we're really in the, uh, in the customer service industry as well. So like, you know, servicing your clients, um, you know, leaving a good impression on them, how helpful you were, how you just weren't the steady cam operator, how they can trust that you could probably probably do other stuff and forget that they're going to call you again.

They're going to refer you. To other clients as well. So, so that's, that's fantastic that you did that. I think that that's really, really cool. So how did you get kind of in that, in the mix, in the running for being the steady cam operator for Bon Jovi, um, for this tour? Um, so it was, uh, it was, I guess it was networking network.

Networking is something that, that I kind of had to learn as I went because of. I'm inherently kind of an introvert. I'm kind of a quiet person, you know, I'm not out there shaking hands. Introducing myself. So, I mean, I haven't had friends early on, you know, explaining this to me, so I had to learn how to do that.

Got it. Um, but I mean, it, it really was, you know, I did that to our women of faith is like a Christian women's conference. You know, I did that for two and a half years or so. You know, the people that I learn or are met from that of course were great friends now. Well then we did a tour with Oprah in 2014.

Which allowed me to save them by more steady cam stuff. But to answer your question, you know, that touring family, that's what I call them. That network that I have, they threw my name in the hat for Bon Jovi. Cause they knew that the director for Bon Jovi was interested in having a steady cam out there with them.

So one of those crazy times, yeah. Laying in bed, phone call, what are you doing this summer? It was insane. How the sauce? And so now with the Titans, how long have you been with them? Um, you know, to be honest, since that's kind of right when I got the steady cam, I think, wow. I want to say, I want to say the first game I did.

I just did a half of a game. It was Christmas Eve and I think it was 2011. And then ever since then I do their, all their home games. Oh, wow. And how did you get that connection? So basically, um, at MCSU I was doing. You know, basketball and football, um, just for their jumbotron. Well, that's the same producer that, you know, produce the, their jumbotron shows and crude it and everything also did it for the Titans.

So, um, yeah, me buying a steady cam, he was like, oh, you know, let's bring it in for, for a, uh, a Titans game. And, um, They loved the look of it. And, um, the rest is history really? And you've been there ever since. Yeah. Yeah. And I mean, like this year I had, I've had a couple friends fill in for me because of other jobs, you know, come along or, you know, longer form jobs.

So, but yeah, it's nice Titans there. I really, I really appreciate. Everything that that has done for my career, uh, and what they have done for my career. And, and also, I just simply knowing that, you know, every fall I'm going to have about what is it about 12 ish, 12 days or so guaranteed, you know, steady cam work, spread out throughout the fall.

It's very, very helpful. You mentioned that you attended NCSU. Um, how has attending there helped your career? I would say, I would say for one, like a very obvious one is the networking aspect of it. Um, you know, something that I wasn't aware of, you know, I did out of school and I'm like, okay, I'm here, I'm ready.

You know, somebody called me and it was crickets. It was very scary. You know, I didn't work much at all in the first six months, but, um, you know, then, you know, friends from MCSU people that had graduated a year or two. You know, they started pulling me in to do a production assistant type work. So that's one way.

Um, but also, you know, that is a very normal question, you know, would you still go to school? Do you need to go to college or anything to work in production? And my answer is not necessarily, you know, or not necessarily that you have to go to college or get a degree or certification, you know, this industry or this job is very much.

Experience-based and, you know, and learning your craft, um, on the job. But I also do say I wouldn't change anything. I absolutely loved that. I went to MDSU and I wouldn't change that. Um, I, I think I got a great education and yeah, it was a very good base and in TV production and film studies and, yeah.

Fantastic. Fantastic. Um, so you mentioned that you now recently. We're able to shoot for CNBC for the first time a national network that I get the right one. It was CBS, CBS. Sorry. It's okay. So you, so you were able to shoot for CBS, a network channel for the first time on an NFL game? Yes, that's pretty cool.

What, what's the biggest difference between that and shooting internally for the title? So, you know, for the Titans and, you know, working for the jumbo Tron, it's more fan reaction. It's uh, you know, the promotional commercial type things during TV, timeouts and whatnot. Um, I'm not shooting much of the game.

I used to shoot some of the game when the networks would take my feet and I would be like allowed to run out there and go around them for touchdowns and whatnot. But now the first thing that comes to mind, yeah. Networks, they're bringing their own steady cam operator. It's much more common now. Um, So, yeah.

You know, working, doing that CVS game, I had to be 100% engaged and the guy who I had to watch the game, I had to pay attention to. Um, and a big part of it is, um, is just your positioning. So, I mean, you spend the majority of your time, you know, you know, okay. Changed possession, you know, just threw an interception.

Okay. Now I have to trot jog over to the other side of the other end. Just be ready and, uh, you know, be ready to bring or try to bring Ben Rothenberger out onto the field. Um, so that's, that's really the big difference. Yeah, to me, they were both, both just as exhausting. So, uh, there's a lot of, uh, I guess you were talking about, you do a lot of a fan reactions and, um, is there a lot of marketing that goes on there?

Like things that, where they have to show some products or whatever it is, and they just need a specific shot as the background? Yeah, well, like, you know, at those games they have. I don't know, it's kind of silly. It's like Kroger, tailgate, toss, you know what I mean? And they're, they're doing something where it's like they're playing corn hole or something, or the mascot is.

Uh, football from, you know, one of the upper deck and trying to land it in a truck. And if it does this guy wins a truck or something, so we won't be there for those types of things. Yeah. What are those called activations or something like that? Uh, I'm not sure. I've heard different events call it different things.

Um, so you're now in Beijing. Pretty awesome. How did you get in the running to go and shoot the Olympics? Okay. It's, it's pretty wild. Um, so I I'd say I'd have to give a shout out to my friend, Mike Dramont, who was a steady cam operator in Orlando. Um, uh, he threw my name and my name in the hat for this basically.

Um, so, and actually I think it was. Uh, the whole political campaign of like 20, 20, like all the news coverage, uh, he brought me in for a job, like got me on a job. Um, and I think I just made a good impression. It was, I think it was working for NBC. It was like the morning Joe show and, um, de Moines, Iowa. It was kind of the first part of the whole campaign here, all that coverage.

Um, and then that led to, I think it was like two weeks from that. In New Hampshire doing a whole big chunk. It was like the primaries or something. I'm sorry. I honestly don't remember what I did two weeks ago, so, but you're getting another long, long answer to this in a nutshell, I think I proved myself, you know, doing live television, um, as a steady cam operator, I made a good impression.

The directors, I guess I had a good name. The family of directors with NBC. Um, so yeah, it got to where, especially because the super bowl was going on at the same time of the Olympics. Um, yes. Uh, so there are just, so they're basically thin on steady cam operators. And they just needed somebody and ended up it's like, here you go.

Here's this guy. He did some work for you guys. And what was, what was your reaction when you found out that they selected you and they want you to come on to shoot in Beijing? So, um, I, I try to not get too excited and too. Until I'm there. Uh, even, you know, especially in our current, like COVID a world of sure.

I mean, you could just get yanked so fast. You've just pulled away. Um, but, uh, you know, it's sorta, like, I think in November I was on a job and, and Mike was like, you might get a call from. You know, and the director calls me and we kind of have a nice conversation and, and it's like, okay, you know, I'll have such and such get in touch with you.

Okay. They get in touch with you. Then you fill out all this forms, then you fill out more forms. And then at some point I even, I think it was maybe three weeks before we left maybe six weeks, maybe. To that production manager, hiring manager. I said, am I on this? I just kinda need to know. And I was telling her, you know, I'm starting to turn down other normal work at home.

And she said, yes, you're booked. You're locked in.

No. Yeah. But I, once I heard that, I think I like hung up the phone, jumped in the air, something like, I mean, it was a big celebration, like, um, because like, this is like doing what I'm doing right now. This is, I really love doing this type of work. Um, uh, live type steady cam work in a studio is, it's just, it's a blast.

I love all of this study can work. I do, but I really am enjoying doing this right. And what kind of assignments do they have you, do they give you an itinerary of everything you're going to be doing? Or is it kind of a day by day? I would say it's more of a day by day type thing. Um, and, and even, um, so I think because everything has just been so chaotic, um, with the Superbowl happening, which they anticipated, you know, they knew that was going to happen.

And even like the more we're hearing about it, like. You know, I think, I don't know, weeks ago they, you know, Mike Terico is going to be with us the entire time, you know, and then it's like, okay, my tree goes gonna be here. Then he's going to go be at the super bowl, do the super bowl. Then he is going to come back to Beijing.

Cool. Um, so I got to ask, because I've been hearing about it everywhere with regards to. Uh, being in Beijing, China with everything that's going on, um, with the pandemic political things like that, the, the, the Chinese government, um, there have been a cause for concern with regards to safety there, we're talking about the athletes out there.

You're working together. Have you felt any sort of, uh, any tension on that end regarding like the people that you interact with out there? Like, uh, in, just in general, have they given you any safety guidelines where not to go? What not to say things like that with regards to dealing with, uh, people out there?

Well, um, we are very much so. Like they would call it. I think they're calling it like a closed loop type system. So. Like where I am right now, it's called the IBC, the international broadcast and et cetera. And then within that, um, you know, each country or Mo most countries have a major, you know, network or something that occupies a portion of this building.

And it's a large, massive convention center type building. And then they, they put in their own studio space and office spaces and storage, and it's. Um, but basically we're not really allowed to go anywhere is what I'm trying to say. Like, wow, I'm going to, excuse me. Yeah. I'm sure. You know, from here, I'm going to, you know, go out here it's, you know, all very fenced in.

Um, so people can't come in and we can't go out. I'll get on a bus. That bus will go out of a gate and then I'm in the city technically, but that bus is not stopping. You know, it brings me right to my hotel, you know, open a gate where you, you know, the bus goes in, they close the gate, I get off the bus and go into the hotel.

So, yeah, it's a very, and to be honest, um, it's a very impressive and complex transportation system. And, uh, I mean, they even have essentially what is like an Uber type service, but it's only for, um, Olympic staff, crew athletes, um, stuff like that, uh, you know, to where you do not interact with the driver, you know, they only can take you certain places, you know, to other hotels that are within the loop or other venues that are within the loop.

So, yeah. And that's, and that's the only for you guys, right? Other countries have their own form or means, or is it for everybody that's kind of work. Yeah, that's everybody. Yeah. Um, and then on, on to answer like safety, I mean, I would say like coming here, I was a little apprehensive or nervous. Um, just about like, what's this going to be like, you know, we're going during COVID times.

I did, I went, I went to Tokyo as well. Um, but it was, it was different here. There. Um, they're just taking it way, way serious. Um, like, um, but yeah, I do feel quite safe, you know, it was nerve nerve-racking getting here and, uh, very stressful. Um, but, uh, safety wise, I, you know, hopefully I'm good tomorrow, but every day everyone's tested every day.

Um, I mean, like I'm not wearing a mask right now, but it's because nobody is in this room with me, you know, and if I got up to walk down the hallway, put my mask on, you know, got it. So, and that's what they require. Of course they're required vaccinations. I'm sure. Yes. Everyone is required to be vaccinated.

Yeah. And then, you know, people are, you know, they would get here and they would have to quarantine. They would still have some trace of, of COVID in their body. Right. So, and even like what the NBC doctor that's here with us, you know, we had a meeting recently and he said, you know, basically China's, I guess it's like their threshold or whatever.

It's like three times the, um, I don't even know how to put this into words, but it's, if, if you were in the U S. You know, the majority of these people that are quarantining would be free to walk around and go to the grocery store and do whatever. But here, because they have, you know, this tiny little amount of COVID in their body and they're still not, um, What's it called contagious.

They're still not contagious. Um, they'd have to quarantine because they just, they're not messing with it at all. Wow. So, yeah, will do thank you so much for taking the time to sort of, uh, come on the show and talk to us about your work, uh, and your overall, uh, body of, uh, working kind of how you got there.

I really do appreciate, I love you sharing your story. Yeah. Definitely definitely am envious of kind of your current position right now. That's pretty awesome. And, um, stay safe out there for sure. When do you guys get back? Um, 22nd, uh, we leave and it's about 35 hours of traveling. Well, I hope you stay safe out there.

You're doing a phenomenal job and uh, yeah. Keep grinding, man. I appreciate you calling on. Yeah. Thank you. Thank you very much for having me. So there you have it. That is my interview with the Tony Rayez. I hope you guys enjoyed that episode. And, uh, I thought it was a fun one. I really enjoy learning other people's tactics and strategies and approach.

And especially if they have a niche in. In the industry. So that was a very insightful one for me. So with, uh, I'm going to be putting links to Tony and his work on the show notes for this episode. And again, bear with me on this new rebrand, this new move. You're going to see a lot of changes going on on the social media, on the websites and all that stuff.

That's still stuff that's kind of happening in real time right now. So bear with me on all those changes. But yeah. Welcome to the once again, Miami video podcast. It's so cool to say that. Now I've been saying I filmmaker for such a long time. Now I think this is almost episode 200 almost. I think this may be 1 99 or something like that, but anyways, glad you guys were able to tune in and I'll see you on the next episode of the iPhone maker podcast.