Is AI Reshaping the Video Industry? | A Mint Media Exclusive

All right, I think we can get started. The numbers are slowing down. I'm sure they'll slowly go up. But um firstly, I want to give a yashayak to uh Misha Schindler and co uh Usher Mishi. We we greatly appreciate your uh overall and overarching I I would call it literally a partnership with EDN. This goes back uh many many conferences. I don't know how many it is already that we that you were like uh coming in uh literally helping out wherever wherever you could and really believing in in helping misters and trying to help me mistas whatever way possible. So in that sense we are our missions have been very aligned with regard to misters. Uh obviously what we do every day is a little different but uh really it's something that we're very grateful for and most recently I personally had uh with the videos that Mint Media produced for our mis uh leveraging uh AI and I don't even know what magic but somehow what I mean we always know they can fix things on videos but this was this was a new level and anybody that saw those videos all said how they do that. what's what what's behind this. So I'm going to give the floor over to the MIT media team and I will disappear into the background but uh whatever whatever you can cheer over here that will will help everybody. We're very grateful and uh I'm sure you got a lot to say so all yours. >> All right so thank you Rabbi Stern and really a big thank you to you and your partners to your brother to Rabbi Krauss. Um, yes, we have been a partner and and mainly because we believe very much in the mission. We believe in what the EDN's doing and we believe in what the executive directors are doing. Um, and I really just want to start by thanking you know the EDN for giving us this opportunity to share this information with all the executive directors and a bigger thank you to the executive directors who are out there really at the forefront of clasel you know doing for for the mistra for the organizations. I'm joined today my name is Mishi Schindler. I'm the founder and director of productions here at uh Mit Media. I'm joined by Mishi Hi House who's our senior production manager and Usher Weler who's our post-production coordinator. And really the goal for today would be to try to lay out and inform the here you know become an educated consumer so to say know what's possible with AI. We know we see a lot of AI videos out there. Some impress us, some don't. Some we're not even sure what is or what isn't AI. But I really would hope that at the end of this 45 minute session, each and every one of you could walk out understanding what is possible with AI. What could you ask of your video producer uh to be done for you? Um I think that there's ways that you could work it into some of your fundraising, help make money off it, help save money off it, and we're going to get to a lot of that um as the the session goes on. Before I start, I really wanted to take a moment and and address the executive directors. I I I don't think I've had the floor uh like this and had the opportunity to have so many executive directors. Um I'm reminded of a story. The story takes place actually in 1924 in America. Misha Mendel, Misha Mosha Morai, I'm sorry, Mosha Morai Epstein Shiva of Slabatka came to America to fundrais for the Slabatka Yoshiva at the time was in Lithuania. Um, and just as he got to America and started fundraising, he got an urgent telegram from the alter of Slavatka, who is the Russa founder really of the yeshiva. And he said that at that point the Lithuanian government was looking to recruit 150 to the army. Um, and it was really a sak for the yeshiva and they had to move the yeshiva, relocate the yeshiva from Lithuania to however in order to do that, it would cost, and again, this is in 1924, it would cost $25,000 to re relocate the yeshiva. Epstein he was in America at the time he decided to go to a close friend of the yeshiva someone by the name of Mr. Harry Schiff and he went to discuss it with the shift because Mr. Schiff was an entrepreneur a businessman a well-known geir who always supported the yeshiva and when he told him what was going on Mr. ship said, "You know what? I'm going to cover the full $25,000." And he covered the expense, and this is 1924, $25,000 to help move the yeshiva from then Lithuania to Kev. Years passed and as the early 1930s set in with the Great Depression, Mr. Harry Schiff came on very hard times. He lost all his money, all his investments, all his businesses. At the same time Epstein was not well and he started selling his sending his son-in-law Sarna to come fund raise in America for the yeshiva was unaware of Mr. Schiff's situation and invited him to a parl meeting for the yeshiva at the parlor meeting Mr. shift asked to speak and he got up and he said you know I made many investments I had many businesses I did so much over you know my time in business however I lost every single one of those investments the one thing I still have is the money I gave to yeshiva that is nitas that is something that will live on forever and now that I have just a minute to speak to the executive directors of kal I think what you guys do each and every day whether it's for the mater throughout kal is really nitious it's it's it's impact and you know on Claudius will really be felt forever and I think the story is so impactful and so important. I was wondering if you would all engage me for just 2 minutes to hear the story one more time. The year was 1924. Remeiva of Slabatka was in America collecting much needed funds for yeshiva. He got an urgent telegram from the altar of Slovaka that the Lithuanian army was looking to recruit 150 of their talmid to join their forces. It was an emergency. They had to move the yeshiva from Lithuania to but that move would cost a tremendous amount of money. $25,000 [music] reached out to a close friend of the yeshivas [music] Mr. Harry Schiff, an entrepreneur well known in the real estate industry who has helped yeshiva [music] for many years. Mr. Schiff heard the issue and decided to donate the full $25,000 to have the yeshiva relocated. [music] >> The pleasure is mine. >> Years passed and in the early 1930s as the Great Depression set in, Mr. Harry Schiff unfortunately lost all his money. He was depleted down to living in the cellar of one of the buildings he previously owned. At around the same time Epstein, who wasn't well [music] anymore, sent his son-in-law, Rebatsk Sarna, to continue the fundraising efforts in America. Unaware of Mr. Schiff's circumstances, Rebatskll [music] approached Mr. Schiff and invited him to one of these Shiva's parliament meetings. At the parliament meeting, Mr. Harry Schiff stood up and said, "Throughout my life, I have made many investments and each and every [music] one of them failed. The one investment, the one success I still have is the Sabbatki yeshiva. >> [music] >> Each and every one of you as executive directors of Maestra and throughout Klas are making investments of Nitz. What you do every day will forever remain within Klas [music] will forever have an impact for generations to come. >> [music] >> So yes, this was just made in honor of this webinar and in honor of the executive directors. And as I actually got some messages as it was playing, we specifically use my voice to show you that it's not the voice. I could have used Rabi Spiro. I could have used Rabbi Huda or some of the other talented voices of Cla, but it's not the voice in this case that made it, but it was the visuals with a little AI magic. we were able to bring a story that much further, that much more impactful. And we really hope to share a lot of these type of ideas over today. Not that you're going to necessarily do it in your office, but you can now know what to ask from your video producer. I'm going to hand over the floor for a moment to my house to open up and give us some tips and ideas. >> Okay. Amazing. Thank you all for coming. as a video producer. Um the thing that I really enjoy about executive directors is the fact that executive directors are visionaries and your role and of so many of you is that you imagine futures that don't yet exist. Now, when it comes to video, at least historically, um video worked against that mindset, not because there wasn't enough talent, but the due to built-in limitations. For example, locations, budgets, uh logistics, and what could realistically uh be filmed. Now, what's the problem with that? The problem with that is that these limits trained us to self-edit early, to self-edit early. So, what did that what did we learn from that? We learned to think smaller than our vision. Now, when it comes to AI, AI breaks that pattern. And that really brings us to part one of this webinar that the new creative mindset is stop checking yourself. And here's the key shift. The key shift is no self-guard rails at the idea stage. Do not ask. Don't ask is this realistic? Can this be filmed? Is this too complicated? Is this too ambitious? Those are great questions, but those questions have to do with execution. And you should ask those questions later. Now, here is the key question um that you have to ask yourself when it comes to the vision. At the vision stage, here is the question. So, what is the strongest, clearest, most emotionally powerful way to express this idea? Now, write this down or have your AI notetaker write this down. What is the strongest, clearest, most emotionally powerful way to express this idea? And this is the major power when it comes to AI. AI lets vision come before logistics. Now, I just want to give one example. So, we're going to roll to the tape on I guess one of our more more famous promos. It was put up for Van a few months ago. So, if we could just roll to the tape. Thank [music] >> [music] [music] >> Okay. Amazing. Amazing. Okay. So, we're back. We're back live. So, I just want to give you a bit of the backstory of this promo and and why we had when we had AI that really changed the story for us. Let's tell us the goal. The goal of this video was to communicate one idea. What was that idea? The idea is that the whole entire world they chase views and we are a nation of non-viewers. So we had a script and what would we have done if we didn't have AI? So I'll tell you the old approach. We would have used abstract footage, screens, numbers, computers like generic digital visuals. Now what would have been results? Technically it would have been fine. Like the visuals would match the script. However, it would be emotionally empty. It no human element not a story because we have AI. So AI en enabled us to follow one individual enter his world and show how this idea impacts a real person. Now what was the outcome? We went from abstract to a real narrative concept to a story and barashm they told us this was the most effective promo they ever ran. They had more signups any campaign since launch. But again we have the same message we have the same strategy. However with AI it was a completely different impact. Now here's the big question and I'm going to turn to myilla for the answer. But the question is everything there technically you could have filmed. So why did we turn to AI? If technically we could have filmed what what advantage did AI give us in this situation? >> So excellent. Yeah. I mean technically we like to use AI where we can't film. Meaning sometimes people approach us say hey why can't you just use AI but in some ways it's very often easier for us to actually just film instead of seeing. And we actually did if you see in this mine video there was a train station there was an airport there were many different settings. And if I don't know if people familiar, but not long ago, about two or three years ago, we did a video for Akuda, which we could play now for a second, where we actually did use and set up a train station. Let's take a look at the video. Okay. So now in this clip um you know we we actually just to give you the backstory to this clip. First of all was it was an extremely expensive video to film. We we took over Hoboken train station needed to get permits um from the government to do that. We needed to hire security to lock down the train station and then every single person you see in that clip are actors. We had six main actors and we had somewhere between 18 to 20 extra actors which obviously you could figure out on the budgeting. And we did that because we obviously weren't going to make a clip for a good of America with women walking around the train station. Nor were we going to do that perhaps for yeshiva. So for sure we weren't going to do clips in a train station that had woman in it. Could we have filmed? Yes. Would have cost tens of you know tens of thousands of dollars for sure. So with AI what we did we were able to create train stations and airports and so many other scenes where there's only men in those scenes. We were able to do it literally in about two days. We turned that video around and on a tiny little shoestring budget compared to what we did in Agoda and the logistics, the actors, the cost, and then the editing to get the similar really similar results. So, we're three years later where we could produce something much better, much faster, and ultimately much cheaper. I'm going to turn it over to Asher to take us into the next segment of what we can do these days with AI. >> All right. Thank you, Mi. Just a quick shout out to all you executive directors. You know, one of the big perks of my job is that 90% of the clients I get to work with are executive directors. And you all know your busiest, you know, time of year campaign. We live that every week and to be able to deal with people who are real boneta and menus makes a huge difference. Okay, just a quick overview of the specific topics we want to cover today. There's a few different pieces of AI that we're currently using and it's constantly growing. Let's talk about, you know, four of them today. So number one would be storytelling where we're using the visuals to tell the spine of the story which is really the example you saw when we you know much first introduced the story much more smart we'll show some more of that number two would be more in a building campaign we're discussing using renderings creating images creating videos from those number three would be branding in general you have a theme you worked hard on you have logos you want to really you know incorporate them into the video and number four would be that you know last tool in the toolbox radar where you're really making the HBI in you're having somebody speak having something that wasn't their appearance. So let's start with storytelling. So before we talk, you know, about the application, let me share with you a clip we did recently featuring Spiro. >> The Nazi army came to Poland and swept through town after town, village [music] after village, city after city. And finally they came to Krakow. Rhes was one of those Yidden who lived in Krakow. One day his neighbor knocks on the door. His Gisha neighbor. They had known each other for 15 20 years. I I just want to point out one one moment from that video before Ash moves on to to the next uh the next uh video that the transition from inside the room to the soldiers marching that single shot it demanded an orchestration of hundreds of highly precise uh prompts AI prompts that would govern the environment, camera choreography, lighting, spatial composition, flow, cinematic intent to really get that that Hollywood level uh transition. Um, it takes a ton a ton of work and when you someone wants to say AI made that video, not really. I'm saying we have a highly trained staff. That one that actually built that that prompt had has a background in cinematography as well, which definitely um allow allowed him uh to really uh bring that video to to the next level. And back to Usher. Yeah, that that being said, obviously the another important takeaway is a video like that. I'm saying just the historical error and things like that would would be very very very prohibitively I'm saying expensive to to to stage something like that. So this is definitely the better route but like is saying it doesn't mean it's easy but it's definitely the better route. Okay, moving on to another project we did in the summer with Living Keshm. One of the elements of their video we had say over a beautiful mushel but the challenge was it's you know it's a fiveminute piece. We want to keep it engaging throughout and we wanted to feel you know not just him speaking but we want to again bring you immerse you into the experience. So let's show you what we were able to do there as well. >> Revelman offered a remarkable mushel that captures the proper mindset to be true mikache. A great ship is crossing the ocean. On board are two groups the passengers and [music] the crew. The passengers relax and follow a few basic rules. The crew has a far more sophisticated mission to navigate, stay on course, and bring everyone safely to a special destination. The crew lives differently, dressed for the job, focused on the mission. Even when invited to join the fun, they stay on task. Sometimes the passengers protest, change course, stop at that island, but the crew stays steady, loyal to the plan and the destination. Okay, amazing. I just want to point out point out the difference. The video we just showed right now was made a few months ago and the video we showed before that with that which I described all the scenes was made uh last week. It just shows how our team's capabilities and EI's capabilities really uh took a big jump. I have a qu but I want to ask a question that's important to point out um is that when it comes to this uh to this uh to this video with the ship, why can't we use stock footage? There's plenty of stock footage uh when it comes to ships. So the answer is is is twofold. Number one is that Cas unfortunately many ship uh if you look for stock footage off ships you're going to have non seen us scenes but more importantly we need a certain cohesion when it comes to video. If you take one stock footage of there here and there and there you're not going to have one cohesive story and a big mile of of AI especially by storytelling is is this uh level of of cohesion. So now just giving back to user to take us to the next step. >> All right. So one final video in this section. and Rabbi Stern actually graciously agreed to let us share a piece of the video. Like you mentioned, we're going to be showing whether host time shabas. Make sure to show up to the actual dinner to see the rest, but we're going to play you a short teaser clip on. >> The great Kazan rolls up his sleeves [music] and he takes the boy's filthy shirt and he puts it in. He starts soaking it in the water. Then he takes the boy's senses [music] that were as black as tar and he starts soaking it for 20 minutes in the water. And then he does the same to the boy's pants and [music] the same to his filthy shoes. An hour later, the boy comes running in. He says, "Where's my clothing?" He's all fresh [music] and clean. Where's my clothing? Cousin shows him his shirt and his pants and his [music] citus and his shoes hanging to be dried. The boy would grow up and eventually [music] join ky kaz and he has not left to this day. to this day [music] he's in the coy he's married he has children >> but just to point out one thing from that video obviously similarly to the ones you saw earlier is to be able to tell a story but one other point if you noticed and again you could go back and watch it again later I guess from the recording but the from the last scenes he joins the kazesh now typically what we would have done is we would have taken a tight shot of someone learning now obviously again the more accurate the more immersive the story is going to be so ideally you want a shot from the kaznish now could You send someone the film? Yes. But we didn't. And we were able to take a picture of the outside of the Kazanh and then animate it and then take a picture of the inside and animate that as well. So we created highly specific footage to match that which really which really brings you in. So that was another nice piece of that. >> Yeah. If I could just jump in. I'm assuming most executive directors are wondering so now what should they do with this information? And I think the answer is that we're approached all the time when it comes to a dinner. Everyone wants a new they want something different. Yes, you have the arories and yes, you have a certain program that you'll have to have because that's where the fundraising is, but how do you keep it interesting? Now, the limitations we used to have would be number one budget. If you're going to film something uh you know to this, you know, two years ago it would cost actors, locations, film crews, editing. I mean, there's there's such a tremendous expense that is now gone. Number two, another limitation would be, you know, if you want to give over something that's historic, the the let's say the Holocaust footage is is very limited. We've created now a ton of Holocaust footage very specific to the to the storyline that we're saying. Now, if you want to connect to the person in the story, if you're let's say a tokabas or something like that where you want to you don't want to use real poor people, you don't want to use you can't use real people, we're able to create a cast of characters and then have a certain consistency throughout the story where someone could connect to those characters, understand them, feel them. So this opens up executive directors to understand that there opportunities of entertaining their donors, connecting their donors to a storyline, telling over things that were, you know, used to not be possible because it was historic and footage didn't exist. Um, or even a mushel which you could use at a dinner, you could use it in the classroom. There's so many, you know, times that you could use this. Yes, over here we did use, you know, Rabbi Joey Habber, Rabbi Spiro, we had or Rabbi Hiser. So we had mainstream, you know, well-known storytellers, but there's many other ways of doing this. But the the main idea that we want to bring across is that the opportunities that you have today are far greater than what you had two years ago and even last week. We're going to we want to you know jump in really to the next segment though as much as we'll talk about the advantages and there are so many of what we could do with AI there are disadvantages there are pitfalls and I think it's very important to understand where you could you know fall off and make mistakes and for that I'm going to hand it over to my house. >> Okay so we're back. So this really brings us to the next uh uh section of this webinar and uh the way I titled this section is unlimited creativity needs structure and strategy. Now let's just explain. So unlimited creativity as we saw is powerful. It's very powerful. However, it's also dangerous. Big ideas are fragile. So again as we saw um AI makes things possible but does not make it believable. Now, if you don't have the right structure, the right strategy, it could feel fake, it could feel cheesy, it could feel amateur, and there goes your trust and frankly, it might look it might turn your might look make it look like sort of like a joke. Um, so this is where um AI projects really really fail. Um, AI does not replace the process. Again, bigger ideas require checks and balances. So Bar as a producer and the media um I have the the benefit the real fortune of of sitting down before we early in the process we sit down with the entire team with the editors the special effects the AI team the animators postprouction and we get everyone into the room early um and we pressure test it and I just wanted to if just wants to elaborate on this point and how we internally deal with it but it's something that really is applicable um uh to everyone here. >> Okay. Sure. So, you know, it's someone told me a great line right before Kaneka. He said that he's worried to see how Kaneka is going to outshine Parasy for silly AI videos. And I think we're all, you know, we got to see a lot of this. You know, wherever you are, if you're on WhatsApp, you for sure see a ton of AI videos. And the question is really, as much as we we laid down some of the AI is that you want to make sure that if you're using it, you're using it properly. As Mish mentioned, you know, internally here at Baram, we have a team and we bounce things off each other. We start with a vision which will work together with a client ultimately bring it back to the team to understand how will this come out in AI. Will this engage the viewers? Will it have you know help them align themselves with the cause that we're trying to present. In other words, we don't want to ever you know fall off to you know to join the rest of the group of just putting out cheap AI videos. And you know in these cases that we're showing to these are some were already shown some weren't shown yet some were still developing. But this is the work of of going through all those steps, understanding the end goal, understanding where we're going with this video, and will AI actually help us here, or will it hurt us? And the takeaway really for every executive director listening to this is number one, put as as I said throughout, push your video, you know, producer, whoever you're working with, push them to the limits, ask for the most. But you want to keep them in check. You want to know what's this going to look like? I we've seen, you know, pretty bad things out there of where people really mess things up. So, you want to make sure that whatever it is is going to ultimately present you well. And don't push the limits if it's going to ultimately come back to hurt you. I want to really move in for a moment to the next section, which I I think is a big big idea that everyone's probably thinking is that these are all very nice. Stories are good. It entertains people at dinners. It's a powerful tool to engage, you know, donors, um, volunteers. The real question ultimately is, and I'm sure everyone here is thinking this, is can I save money with AI? And number two, perhaps even bigger, can I make money with AI? Where are there opportunities for me to, you know, shave some money off my budget? And perhaps where are there opportunities to fund raise more using the power of AI? And I'm going to turn it over uh to Usher to take over from here. >> Okay. Thank you. So, the first place that comes to mind when we talk specifically about, you know, being able to use the fundraising tool is building campaign, which I'm sure a lot of you are involved in. Now, traditionally, one of the problems with building campaigns is the campaign comes before the building actually exists. If you had the building, you wouldn't need the campaign. So, how do you engage a donor and get them to feel excited about a project when there's nothing you have to show them? So, this is not an old problem and obviously, you know, people have been working on this and people pay a lot of money, tens of thousands of dollars to people for people to create plans and not just for an architect, but something that someone can appreciate, a sketch of the building. people have taken it further and made a realistic looking render and then even further to make a 3D space where you can actually sort of do a animated fly through but as much will take over later all these comes at a cost but what we've been able to do now we recently with AI is to do a lot of the heavy lifting in a much simpler way so let me share what we did recently for the Jackson mikvah they sent us actually very high quality rendering just as still images I'll show you the images they sent us and then we'll show you the video animations we were able to create using AI So, the following are just the still pictures they sent us from the exteriors, the interiors, and then right after this, we'll see what we were able to do with AI. [music] So, just understand we're making 3D videos. These are not just a question of animating a picture. We're seeing parts that weren't in the original picture. We're coming from different angles. We're really bringing the building to life. [music] >> Yeah. Amazing. So, as Usher mentioned earlier, um have we ever done uh 3D flythroughs uh for building campaigns? Yes, we have. But even before getting to us, the amount of expense and work that you have to put in, whether that means hiring interior designers, decorators, the amount of detail that it takes in order to get that, the amount of money you back in the day, you were looking at at least $50,000. At least $50,000. Now it's a fraction um of the cost. Um and it really really will empower you to raise a lot more money at a lot lesser cost. But now I want I want to go back to Usher where he's going to introduce more yishi when it comes to these types of renderings. Usher for you uh if you want to take it away over here. >> Yeah. So recently actually we were approached by someone who was an even rougher stage. They had a very rough sketch of what they wanted but that was about it. So we had to take it from there to make it into the more realistic looking building from there to the video and I'll show you now on the video. So this is something I made as a mockup. We couldn't use their actual thing. So as you see she was terrace donor's name here campus. Beautiful building but it's a sketch. You give this to donor. Okay, it's a nice idea. What's it really going to look like? So, first we use AI to create a more realistic looking render. And now, beautiful building stone. Beautiful still donor's name here. But for the next step, how do we show this as live? We want to incorporate in the video. We want to have a drone shot of this. And once again, we're able to use AI now to animate this as you will now see. So I mean we come basically from almost like a napkin sketch to a you know high powered video which is really going to bring them in. For this particular project we actually made several other animations again I'm not going to share because it wasn't public but with the specific donor's name on plaques on arches on things again could they have been done in the past they could have been but like Mo said at a tremendous cost. So this is a much much simpler streamlined way to be able to bring these things to life. And so this is really, you know, examples of we're years ago or even just last year or two years ago to create a building campaign to raise significant money to bring donors into the feeling of the building, even show their name on buildings. These were things that were really not possible. Um, and now it could be done quickly. It could be done cheap. Taking a flat picture, we could all of a sudden have these flythroughs like like Asha showed you from the Jack the Mikvah or this building in Shallayam. So, these are real examples of where you could save money, make money, and really use it as a tool as a fundraiser, as an executive director to to get people engaged. I want to move into the next section. And and I think that as executive directors, part of the role that you guys have is really to identify your brand, push your brand, so to say, make people feel part of it. And and we do this at dinners where, you know, there's um the signage, there's journals, everything is kind of with your logo, with your color. There's many ways now, easy, quick ways that we could put in in subtle ways put your branding in throughout a video. Uh usher, if you could give us some of those examples. >> Okay, so the first thing I want to talk about is many of you are probably familiar that when we do interviews in our main studio, many video production companies do the same thing. Instead of having one background, which will make everyone feel like they're in the same place, we use a green screen background, right? So even though everyone's filmed on a simple green curtain behind them, that gives us a flexibility to pop in the background of our choosing. So I'm going to share with you a short clip just to use him as an example of where you know typical what the green screen looks like. As you see here he's talking on the green screen background and with you know what we always used to do is now we're going to pop him out and you'll see it'll turn in transparent behind him in just a moment. Now we put in the background of our choosing. So typically it probably would [clears throat] have been something like a squarm shrunk you know. So, let's see what that would look like. And pretty good, but it is, you know, generic. If we wanted to be very specific and use the EBN logo from last year to really drive home that this is part of the EBN thing, we pop him in a fancy hotel lobby with the fancy optical illusion EDM logo on the side and that sort of brings everything together seamlessly. So, that is a nice look that we have been incorporating recently. Again, is it possible to have done before? Yes. So this is a much simpler way to create a 3D space and incorporate branding. So that is one example of that. Another example we did for the AGODA that we did for their summit recently that in the beginning of the video we really wanted to bring an emotional statement that auda's colleagues like it said it's not just an individual. We wanted a lot of people. We wanted to create a powerful scene. We didn't want to hire the extras. So let's share with you a short clip of what we were able to incorporate in the beginning of that video. It starts with [music] one family struggling under the weight of rising tuition. A professional facing discrimination. A young community boxed in by discriminatory [music] zoning laws. One voice becomes two. Two becomes 10. 10 becomes a movement. And that movement people [music] standing together is a good. >> Yeah, if I could just jump in there for a second. If you see also that a good clip, what we did was we wo in AI generated obviously the the people forming the Auda logo. But you see that a good assum standing in front of the capital building and that's interspersed with the AI footage which gives over. Now again, if you sit there studying it, you'll realize what's AI perhaps and what's real footage. But by intertwining the the real footage with the AI footage, it gives over the impression that those asam standing in front of the capital building are the ones making up the logo. So again, it's not just hitting a button and pumping out an AI video, but it's using to figure out, hey, we have this clip of a bunch of people standing outside the capital building. Let's make them with through AI look like they're forming the logo, which gives over the feeling of everyone being part of something. Ash, if you give us a few other examples where we could use these type of techniques. Okay, so another example is maybe pushing Nevelop a little further. We've done this for corporate clients, but sometimes you want to put out a promo, let's say as an invite, a save to date, and you want to use stock imagery or whatever the theme is going to be, and you want to incorporate the logo into these things. So again, I can't share with you that specific video that I'm referring to, but we made a mockup. Let's say we wanted to show people arriving to the EDN conference last year in style. This is this would be something we would put in that promo. So, I'm not sure which of the VIPs is arriving, but definitely easier to do this in AI than hiring and painting a helicopter. Um, one final example is really the HMI, and I would say this is the the tool in the toolbox, which you pull out very sparingly. It's when you literally want to create a video from scratch. You want to have the AI create the audio, create the visual. It's not as a backup visual. It's not as a piece of a story like saying by the story itself. I'll just give you the backstory of when we did almost this exact thing. Recently, we were working with a client who wanted to give a very informational videos, but it was also important obviously that the viewers stay engaged. So, one of the things we came up with is that some of their segments could be a game show style. They'll give away the information they want, but through a game show there'll be a question saying, "What do you think about this ABCD?" And then they'll come and give the information. So, they were on board with them being the information part of it, but they wanted the host to be someone else. They didn't feel it was appropriate for them to be the host. So the traditional route would have been to bring on a host to film him to create a background for him and again it would obviously raise the budget. What we're able to do recently with this particular project was create a HMI and create our own animated host. Again I can't share with you that project yet. Keep an eye out for it. But if the EDN ever decided to do a game show here perhaps is what it would look like. >> For our next question, how many executive directors are part of the network? [music] I'll give you a hint. There are members all over the world. So, it's got to be a larger number. >> I think it is important to know by the way. Also, anytime you see glitches today, it was it was because of the zoom. It wasn't because of our capabilities. But with that being said, I'll turn it over to Mishi Shindler for closing remarks. >> Yeah. So, I I just want to kind of wrap up because we're we're nearing our time limit here. But we really, you know, over today over the last 40 some minutes, we kind of went through a whole bunch of different ideas. You know, we showed off the the opportunities of storytelling, whether it was through someone like Raikpiro, Rabb Hiser, Rabb Joey Habber, which obviously gave the background and the passion and the drive behind those stories, but that could be used for you executive directors as an added on piece. Arthus is using this Masa Chabis, you know, to engage engage donors, give over a message, and really, I guess most importantly, keep the the program interesting. Um, we spoke about some of the pitfalls. You know, overusing it or using it incorrectly will come back to haunt you. It's not only not going to be a tool that's going to work for you, it's going to be something that could work against you. You could come off, you know, to your donors and and, you know, volunteers, wherever you're showing it to really in the wrong way. Um, in addition, although yes, there's many opportunities like we spoke about building campaigns, um, where you could save a ton of money because these flythroughs used to be very expensive and now they're cheaper. Not necessarily is everything going to be cheaper. You know, we had a client who called this week who said, you know, I'm not sure. Do you want to do this with actors or do you want to do it with AI? And like when I saw what they wanted, it's much cheaper, much easier, much faster, and even better to do it for real with real actors. It would cost them, you know, nice money, but AI would just take hundreds of hours to prompt these things. So, these things do take time. It's not a one, you know, we don't just type in exactly what we want and pump out these videos. Many of the stuff that you saw, Holocaust footage or these specific stories that we built, we're talking about hundreds and hundreds and hundreds of prompts because AI has a mind of its own. It's it's kind of a little bit potluck. Obviously, we're we're learning and we're getting better every day at understanding how to, you know, how to prompt them, how how to talk to them and get the results we want. Obviously, having videographers as part of our team of editors helps us direct what we want the shot ultimate to look like. But it's important to note that yes, it is cheaper. It could be cheaper. It not always is cheaper. Yes, it could answer some of your entertainment questions for dinners, but it won't answer all your questions, you know. I don't see at this point, and maybe by next week it will change. I don't see how we're replacing honory videos yet with AI, you know. So, I I see I'm getting questions, a lot of questions on my WhatsApp and and directed to me privately, you know, how would this play out in a regular school dinner? Um, it might not replace your honory videos, but it can replace your feature video about the school. You could turn it into a mushel. I don't know. I I don't have it prepared for today, but I don't know how many of you might have seen our tasal video where we took a video that was geared towards women and we had the issue of not showing women, but we were talking to women. So, we had through AI, we had created a children's story book and then we filmed just a woman's hands holding this children's story book. So, that was an example where we had a problem where we're talking to women. We couldn't show women, a problem that many of us on this on this chat uh on this Zoom call have. And we were able to, you know, kind of work around it. So really to to you know to kind of come full circle and and and end this uh webinar is the the power is there and I and I really hope that over this time um you should all you know hopefully have learned something that you can now go back to whoever it is that produces your videos know what you could ask for be careful of the pitfalls and the downfalls of where you could fall short and obviously each and every one of you have different applications as to how you're going to use this and that has to apply to you and as we said you guys are the builders of claol you guys are at the forefront and always thinking and this should really keep you up at night uh with the possibilities of what you could do. Um we're going to post our contact information here if anyone wants to reach out with questions. Uh irregardless of who you use to service you, we're happy to answer questions. Um obviously, you know, ideas, concepts, coming through a whole campaign is is a long is a long uh conversation that takes time. Uh but if there's specific questions of what we spoke about um that you might have, please feel free to reach out to us. We're going to post if you can just post the phone number and email address. Um you're all welcome to reach out to us with any questions, feedback, comments, compliments. Um we're we're here to answer all those questions. And again, I really thank the EDN uh the Sterns or Viet Krauss for inviting us here and giving us the opportunity to spend some time with really the greatest group of KA Israel out there doing for us every single day. Thank you so so much everyone for joining.