← Limited Supply
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- [00:01]
Nick Sharma
Welcome back to season 12 of limited supply, the only commerce podcast with unfiltered and refreshingly hot takes. I'm your host Nick Sharma and when I'm not recording, I'm behind the scenes scaling your favorite celebrity and consumer brands. Let's start talking all things direct to consumer I'm going to tell you about a software that my agency, Sharma Brands uses. With our fastest scaling brands historically, last click advertising channels, think Facebook, Google or TikTok, they take too much credit for what they do. As a result, it's reduced confidence for brands to effectively scale their upper funnel structure strategies, which puts them in a pickle of higher CPAs. A few years ago without Prescient, I would have said there's no real way to track what channels like YouTube TV or even newcomers like Applovin are doing. But with Prescient you can now look at daily multi channel forecasting and optimize your paid media without any bias. Prescient allows you to see the halo effect that is usually unrecognized with top funnel channels and allows you to measure those down to the campaign level. See the impact your upper funnel media really has on E commerce, Amazon and even retail stores. Plus once you go live, since it's not a pixel based platform, you'll have data and results populating within a week. Try it out and go to prescientai.com limited to learn more. Andrew we're recording this for the second time because the first time I did not hit the record button. But you know, to set up context for this. You and I met a couple weeks ago at Miami Music Week. We were watching Chris Lake. I started getting so curious about how the whole team is built out around the creative side at Breeze. Having been on the inside of a beverage brand. Knowing that there's retail, there's activations, there's organic social, there's email, there's a website, there's paid, how all that gets done, what that setup is like. So at the time we decided we're not going to continue talking about work, we're gonna save this conversation for this so everybody can hear it. And I'm excited to jump into it with you today. But and I hate to ask you to do this a second time because I messed up and forgot to hit the record button. But could you please give the listeners a quick background of yourself and then on Breeze and then let's jump into it.
- [02:13]
Andrew Deutsch
Totally. No worries, Nick. I've actually got a pretty big background in podcasts. I've hosted like 300 podcasts so I've done my fair share of screwing up something, so don't worry about it. But yeah, my name's Andrew Deutsch, currently the creative director at Breeze, which is a feel good tonics brand and we've grown extensively over the past couple years. We're about to have our second birthday here pretty shortly. But yeah, I mean if you're in the D2C space, you probably know Breeze. It's actually kind of overwhelming how much people are talking about us on LinkedIn and all kinds of stuff, wanting to use us as case studies and things like that. But uh, yeah, started at breeze in Q4 of last year, so coming up on about six months here and before that was doing some consulting for brands and agencies and then before that I was at a marketing agency for D2C brands. Got to work with all different like 150 brands of all different niches. So that was really where I cut my, cut my teeth on the marketing side and before that did a lot of videography and content and editing and yeah, super exciting now to be a part of such an incredible brand that's blowing up.
- [03:35]
Nick Sharma
That's amazing. And could you. Okay, could we start with the creative team? Like so, you know, with beverage there's so many different ways that creative needs to be outputted and exported and you know, for different purposes. How is the creative team currently set up or how do you think about building out the creative team or philosophies around, you know, the, the creative team?
- [03:58]
Andrew Deutsch
Totally. So one of the big areas that we've focused on is 3D renders and you know, making things in 3D space and then bringing those things to life. And I think it's actually interesting like just talking to a lot of different brand owners. They've kind of strayed away from doing a lot of like traditional photography and in place of, of doing 3D. And it's really just because with 3D you can really imagine exactly what you want and then you can go make it physically. So from the very beginning we've been a very design forward brand. I can't take credit for everything and even for some of those first awesome hires of designers that we've had. But yeah, I think our foundation really is in that 3D side and really dreaming up exactly what we want from a visual standpoint and then taking that to the physical world. And I think that's where especially in beverage with, with D2C versus retail, you know, it's a very interesting spot to be in because most beverage brands are not, you Know, starting off direct to consumer, they're trying to, trying to make it in retail. Just there's so many challenges with, with beverage. But as far as the design standpoint, really focusing on dreaming up like what we want in that 3D world and then kind of bridging the gap there. And that's kind of been our bread and butter and our strong suit, I'd say.
- [05:30]
Nick Sharma
Yeah. A couple things you said are interesting. One is beverage is hard. I think beverage is like the. It's like, first off, it's one of the hardest categories to play in because you have. You're just dealing with something that's insanely heavy. So whatever you do, it's like it's costing you money. And secondly, in this category, of course, you've got so many different regulations and whatnot. Actually, 3Ds is something that I used to use at hint a lot too. It was just so easy for us to make statics, especially website banners or promotional banners and emails. Are using a lot of ChatGPT stuff right now with the 3D renders or do you use that in your workflows at all?
- [06:08]
Andrew Deutsch
We've started to incorporate it a little bit. I really want to create like a pipeline where we're using that more efficiently because I think that there's, I mean, in the future we're going to be able to just type whatever we want and it's going to come out exactly how we want it. But until then, like, you know, we're still dealing with weird things with text and stuff like that. Like right now, if you just give it the 3D model or, you know, at least a 2D image of the 3D model, it does a pretty good job of, of creating some static ads and stuff like that. But to be honest with, I've seen some really good ones on Twitter and stuff with like apparel and hats and stuff. But for whatever reason with, with the breeze can. We haven't gotten it like exactly dialed in. But the thing is, I think that what we can really do is like, because we actually know how to make it from scratch. It's kind of like if people are really good at Photoshop, right, like now you can kind of get away with, you know, you could, you could ask ChatGPT to Photoshop whatever you need, but when it comes down to those fine little details and getting like the last 5% across the finish line, you know, you still probably are going to need some. Someone who knows what they're doing and who has the skills. So it's kind of interesting because we have people that can make something fully from scratch without AI. So it's like how do we incorporate AI into our workflows? And I think the ways that we're incorporating it is with the, with, with team members that are, you know, media buyers or maybe they're like less skilled with, with those or they, or they don't really have 3D in their workflow. Yeah, they can use AI to like augment what they, their gaps in their design capabilities, which is amazing. And even for me, like I, I'm someone that started in Photoshop and then kind of like moved to videography and like Premiere and stuff like that if anyone's familiar with the Adobe programs. But it's yeah like I'm, I'm using AI a lot in just doing little tasks that like I don't necessarily know how to do or just stuff that it's going to take me a long time to like Photoshop out or whatever. And yeah, we've been using it as much as we can.
- [08:21]
Nick Sharma
Yeah, like there's like a workflow that comes to mind which is like, you know, if, let's say a media buyer sitting at their desk and they see that this certain static is doing well in theory, some AI engine should have access to seeing what does well in the ads manager historically see that creative and then be able to just make 25 identical ones testing different headlines, knowing what's worked in the past.
- [08:48]
Andrew Deutsch
Totally.
- [08:49]
Nick Sharma
But I'm still waiting for that one tool to be made. You know what I mean?
- [08:53]
Andrew Deutsch
Yeah, exactly. And I mean there's a couple of pretty good D to C kind of like canva rip offs, you could say that are more geared towards making stuff specifically for ads. And once those platforms integrate AI fully with that type of stuff, it's game over. And honestly it kind of makes you wonder too. It's like, okay, when everyone has access to the most powerful tools, what's the next step? Like what is the matter after that? Like, because you know, before it was kind of like okay, content was expensive, it took a lot of money and effort and energy to like actually get something that looks halfway decent, let alone like professional. But now that everyone can kind of make like professional looking stuff, like what is that next thing that separates the good from the great? And it'll be interesting to see because like it's really, I mean creators are freaking out, everyone's kind of freaking out. But like I look at it as another tool in my tool belt. Like I don't look at it as a bad Thing, I look at it as a completely positive thing because I just see, like, okay, now I can do more. All my team members can do more, and anyone who's not integrating that stuff is really just getting left in the dust.
- [10:06]
Nick Sharma
Yeah, I agree. I think I see AI a lot around like. Like making you more efficient. You know, taking something and being able to remix it 14 different ways in five minutes is super efficient. But I still think a lot of, like, the creation or, you know, like, adding humor into a good ad or a good story, you know, I think those things are still gonna be hard to just create out of thin air. But I do think from like, a aesthetics standpoint, I feel like there's now been a great reset on that.
- [10:36]
Andrew Deutsch
Totally. And like, the every. You know, it's kind of like the rising tide. Rising tide lifts all ships. Like, now that the standard is at least here now, like, does that mean that everyone has to be above that or whatever? Yeah, it's. It's pretty interesting.
- [10:50]
Nick Sharma
Totally. So for a brand that's growing super fast in multiple channels, retail events, sampling events, wrapping cars, ads, emails, et cetera, how does the creative team kind of built out? And is it. Is it set up like an agency internally where you have a briefing process that goes in? Does each team have like a. Like, is there an email specific designer, but that person doesn't touch ads or how does that work?
- [11:17]
Andrew Deutsch
Yeah, that's a very fair question. So starting off, we've got one, our main designer that's kind of been with us from the beginning that helped us create the kind of the whole vision for the brand. He has been instrumental in, like, all things packaging, all things 3D from the very beginning. And that's been really foundational of like, okay, this per. There's this one designer that we have that really has taken ownership of, like, what the. What the brand looks like, what it feels like, and can also create this, like, breeze world, if you will, of like, all these 3D things. And that's super powerful because then that can kind of create assets for any other types of designers to use. And I like to create, like, libraries of assets that you can have people that don't need to be the most skilled at, like, video editing or graphic design that they can just pull in these things from like, like these libraries of our assets of like, evergreen stuff or whatever the case might be and. And create what they need. Because I think a lot of times, especially with video, like, you do like a video shoot and you get, you know, let's say you go to an agency, you get like three videos out of a shoot or whatever. Let's say six, you know, after the, after those six, like if they're not giving you the raws, you know, that's kind of all you get. And then let's say they do give you the raws. Do you have someone on your team that's actually gonna, number one, sift through all this stuff and find all the bad takes, like, cut them all out. Maybe there's like they're shooting probably in some like crazy color profile in their cameras. So you gotta like color correct it. There's, you know, a media buyer is just simply not going to do that. But if there's a bunch of stuff that's already like edited down, it's already color corrected.
- [13:12]
Nick Sharma
Components almost.
- [13:13]
Andrew Deutsch
Yeah, exactly. Like it's already color corrected, you cut out all the bad takes. Any audio that's irrelevant, cut that out. That's. That's been like a huge step for, for me that, that I've always implemented in my creative teams was trying to build those assets of stuff that's immediately usable so that pretty much anybody, regardless of skill level, could download clips and slap together something if they need to. And so I think that that's where foundationally, I always want to build up that creative library so that when anyone comes in, they have access to what they need.
- [13:51]
Nick Sharma
Yeah, that's really fascinating. I feel like too, just in the notion of what we were saying around AI, these tools are going to look for components to bring in and remix to.
- [14:01]
Andrew Deutsch
Exactly. And if you can provide, I mean, I'm, I'm thinking of a world too where I could go out and film a vlog and I could just like dump all that footage into some AI thing and it just like spits me out a vlog of my day. Like, that's going to be insane when that happens.
- [14:16]
Nick Sharma
Yeah.
- [14:17]
Andrew Deutsch
Because especially if I'm filming with like the edit in mind, you know, I'm only going to feed it like the clips that I actually want to use.
- [14:24]
Nick Sharma
Right.
- [14:24]
Andrew Deutsch
And as of right now, like pretty much just that's being done by a human editor. And same thing goes for like ad content. Like if I'm, if I feed something, a bunch of just, you know, great quality, usable content, not only could it probably generate new stuff based on that footage, but it could slap together a bunch of stuff very easily. Or like I said, an unskilled or a lower skilled editor can, can kind of easily slap those things together. So to kind of go back to your question on like the like, if it's structured kind of like more like an agency, I'd say right now we're still, honestly kind of, we're fluid. We are very much so still navigating exactly how we want to permanently structure the team. Right now we've got on our retention side those team members that are working on email graphics and things like that. They are touching ads but those graphic designers aren't necessarily touching the brand building side as much and sometimes they're getting pulled in on packaging things but it's not typically like making stuff from scratch. It's like hey, we need this master tray that you know our new boxes are going to sit in but we need it to be branded. Like hey, can you whip up something real fast?
- [15:42]
Nick Sharma
So yeah, I imagine those, those guys are also probably not in Figma.
- [15:46]
Andrew Deutsch
Yeah, and I mean in with, with email. With, with email. We are designing in Figma for a lot of it. So some of those designers are in Figma. Honestly a lot of times I, I just, when I'm hiring graphic designers I, I, I like to let them do whatever they're most comfortable with. Like yeah, as long as they can get the job done and they, they can work within the team. Like you know, I don't necessarily mind which platforms they, they want to use as long as it meshes with the team. But, but yeah, we do use Figma a pretty good amount.
- [16:19]
Nick Sharma
A few years ago without Prescient, I would have said there's no real way to track what channels like YouTube TV or even newcomers like Applovin are doing. But with Prescient you can now look at daily omnichannel forecasting and optimize your paid media without any bias. Today brands like Port and Leather, Saatva, Jones Road, Hexclad and so many more of our clients use Prescient to understand what these top of funnel channels actually do to impact their sales in retail. Amazon and their DTC site Last Click channels have taken too much credit for far too long and reduced confidence in upper funnel channels. Prescient allows you to see the halo effect that is usually unrecognized with top of funnel channels and allows you to measure those down to the campaign level. See the impact of upper funnel on your revenue roas and new customers today by going to prescientai.com limited to learn more. That's prescientai.com limited so what, what does like the rest of the like people wise, you know, assume you're a brand that's doing that's scaling aggressively you know, you guys post your revenue numbers on the Internet. So let's say when you're at like, you know, a 3 to 4 million dollars a month revenue rate, what does like a. A stacked, you know, lean but efficient. But, you know, it's not like you're. It's not like you're looking for more bodies. You have enough, like, what does that kind of team makeup look like?
- [17:44]
Andrew Deutsch
Yeah, so we're doing a lot of contract stuff on the videography side. So any like, video work right now? We also don't have like a home office. Our entire team's remote. So as far as like shoots and, you know, things like that, we do have a photographer that's on our team full time. She's also our social media manager. So she, she's able to create content for social and then she's also managing it, posting it, things like that. But as far as like, you know, so. So we're about to launch a new product. We have a videographer on retainer who's just monthly. He picks up product from me and goes out and does a shoot once a month with models and things like that. We align on what we're going to do for the concepts, what types of shots, if there's models involved, locations and so on. Like I said, pretty much just monthly. We're working with a couple different videographers and photographers. Sometimes people are reaching out to us, they want to work with us. We've had a lot of people that want to just do shoots for free as long as we send them products. So that, that's been amazing. Sometimes they're. Sometimes they're good, sometimes they're usable, sometimes they're not. But, you know, it is. That's sometimes how it is.
- [19:04]
Nick Sharma
Yeah. It's always funny, the content you get back from that stuff.
- [19:08]
Andrew Deutsch
I know, right. Well, the funny thing too about. Just kind of go on that tangent for a second with photography and videography is I think sometimes with ad specific content or even just content that's designed to make someone, you know, buy something, sometimes the photographers are not necessarily aligned on that side of things. Like they're more focused on the person or, you know, the aesthetics or the color, you know, the colors and stuff like that, they're not as focused on like, is someone going to look at this and actually want to buy the thing that we're focused on?
- [19:41]
Nick Sharma
Yeah.
- [19:41]
Andrew Deutsch
And so like one big thing for me, for example, with beverage is like, you can see right now this, this can is like dripping because it's, you know, it's it's got, it's got condensation on the outside. It looks appetizing. It looks cold.
- [19:54]
Nick Sharma
Right?
- [19:54]
Andrew Deutsch
And like, I hate it when, you know, we get. And now it's in our, in our guidelines when we're, when we're briefing photographers. But like, the cans need to look cold, they need to look delicious. It needs to look like something I want to grab and sip right now if it's, if it looks like it's warm, like no one wants that, no one's craving that.
- [20:12]
Nick Sharma
Totally. Yeah. I remember we used to always have a bunch of like spray bottles around the hint office and anytime you take a picture, you just do a couple of sprays and, and then to the point of like people sending their own stuff. And we used to get, we used to call it the zombie bottle selfies where people take a selfie holding the bottle. And that was like the number one most common thing. Never converts, never gets. No one wants to see that. You know what I mean?
- [20:38]
Andrew Deutsch
That's hilarious.
- [20:39]
Nick Sharma
I'm curious, like, as the creative director, your job is to basically make sure that those trays look beautiful and so do those photos, but you also have to make sure that these things are driving direct response action as well. So how do you balance that? Or do you lean one side or the other?
- [21:00]
Andrew Deutsch
Yeah, so it's been a lot just in the past six months being a breeze, just trying to figure out where, how, how much control I have over all these different pieces. Right. Because you've got everything from packaging to events like you said, to ads to emails to organic stuff. It's, it's a lot of, it's, it's a lot of things to manage. So as far as the, the ad side goes, we've got I think about probably three or four people that are working on, on the paid ad side of things. And one guy in particular, he's my go to as far as figuring out bridging the gap between the creative and the data. So, you know, because a lot of times media buyers like you'll get on a call with. Let me actually look up what we're calling his role right now because, uh, we've, you know, sometimes those terms are fluid here. Let me pull it up real fast. It is head of content strategy. So, so as far as, and, and to be honest, that term might be a little outdated at this point, but I think definitely when it comes to content strategy for, for ads and kind of deciphering like the, the data side of things and the, and the content side of Things, because I. Like I said, I think when you get on calls with media buyers a lot or, you know, you're having a. You're having a meeting about. About ads, it gets really in the weeds of, you know, all the data and numbers and ad sets and things like that. And like, it's like, hey, guys, let's zoom out for a second and actually talk about, like, what the fuck people are actually seeing with this. Because, you know, it's sometimes easy to lose that, especially when there's just so many things to test. And one thing that we've actually scaled back on a bit is the amount of creatives in our ad account at any one given time. Number one, because our ad accounts were getting taken down so often just because of regulation issues with the nature of our business, but also just so we have a little bit more control over what's actually live, what's running, and having just a better pulse on it. So we've kind of put a limit on the different platforms. I think, like on Meta, right now, we're limiting it to like the 20 main ads that were like, okay, these are our 20 that we're running right now. Let's really make sure these are solid. And then for Snapchat, hey, let's. Let's narrow it down to our top 15 or whatever it is. So we've kind of got. On our tracking sheet, we've got each platform, but we kind of. We've scaled it back over the past month or two of just how much we were doing. Cause I think for a while it felt really like everyone was kind of just blasting quantity.
- [24:02]
Nick Sharma
Yeah.
- [24:02]
Andrew Deutsch
And, you know, we're trying to make sure that we're not just. And ads are tough right now, man.
- [24:08]
Nick Sharma
Totally. Where do you guys get inspiration for new ads? Do you look like, what's your process? Do you. Cause your brand. You know, most people, they would say, well, I go to ads library of like, you know, 10, 15 brands. But you could just go to Reddit and search for Breez, or go to Twitter or TikTok and search for Breeze. Like, tell me about your process of how you guys get inspired for new ads.
- [24:30]
Andrew Deutsch
Yeah, it's pretty wild. I mean, it's. It's pretty nuts being at a company that there's so much chatter about, you know, outside of the company. There's. Every single day there's a new LinkedIn dissertation on someone breaking down breezes, strategies or, you know, like, whatever the case might be or. Or throwing us free ideas for content or whatever. And so we, We've definitely got our ear to the ground when it comes to that. But I. I think when. When I'm looking for inspo, I try to not look at other beverage brands too hard because I don't want to ca. Like, I think when it comes to getting inspiration, I like to always make sure that I'm, like, one step removed from whatever company we're kind of, like, emulating just so that we're not, you know, stealing people's concepts and things like that, especially from, like, direct competitors, but, like, taking something maybe from a cool skincare brand or a cool shoe brand or something, and then, like, making a unique twist on it. No, you know, I think it's like, I forget what the name of the book is, but it's like, steal like an artist. Yeah, that's what it is.
- [25:37]
Nick Sharma
A good artist copy. Great artists steal.
- [25:39]
Andrew Deutsch
Yeah, exactly, exactly. And so, like, stealing like an artist, in my opinion, is like, kind of getting inspiration from something that is. Is in a different niche or a different genre. And, And. And taking that, because that's ultimately what creativity is. It's like taking something unfamiliar and mixing it with something that's familiar. And so, yeah, and I'm a big Cosmos guy. I don't know if you. If you know, Cosmos, it's kind of like Pinterest, but, like, it's a little more curated.
- [26:06]
Nick Sharma
Oh, this is Andy McCoon's product.
- [26:09]
Andrew Deutsch
Honestly, I'm not sure who the founder is, but props to the.
- [26:13]
Nick Sharma
He started that app that sold to Squarespace. I forget the name of it. Really popular photo app.
- [26:18]
Andrew Deutsch
It's pretty sweet. I've been using it a lot recently. It's more for, like, mood board type stuff, too. Like, I feel like it's a little more esthetic. Like, that's more for, like, the brand side. I'd say not as much on ad side, but I've been really loving, really loving Cosmos, and then obviously, you know, digging around in some ad library stuff every. And we also have a lot of internal chats, like, on Instagram. Like, we just have a team chat where we're just always sending each other cool ads that we see as we see them live. And that. That's always. That's always a good source of inspiration for us too, is just like. Because. Because it's also easy to get trapped in your own algorithm.
- [26:56]
Nick Sharma
Like, totally.
- [26:56]
Andrew Deutsch
I'm gonna see stuff that's way different than what a mom in Kansas is going to see that loves Breeze, you know, and that is something that's very interesting about Breeze in general. Is that our audience is very, very broad. Like beverage is so widespread, like it doesn't necessarily, you know, encompass just like 35 year old males. Even though of course that's a big demo for us. There's also a massive demo of like, you know, middle America moms in their late 40s that are huge fans of Breeze. So it's kind of also our challenge to figure out where we go with the, with the brand positioning.
- [27:34]
Nick Sharma
Totally. Okay, we have a few minutes left. I have a question. Everybody's always wondering, you know, how much should a good photo shoot or video shoot cost? And you know, do you need to have a food stylist and an art director and the assistant's dog on payroll? Like, how does that work?
- [27:52]
Andrew Deutsch
This is a really great question. So it's really challenging to say like definitively what something should cost, I think. So if you're doing something that's like. For example, when we launched the Spirit, we were shooting a bunch of like stylized mocktails. So we did have a food and beverage stylist on set when we did our launch shoot for, for the Spirit because we really wanted like, it was kind of like these mocktails needed to be the star of the show. So we did shell out and spend some extra money for that specific. But in general, you know, I, I think that people are, you know, in kind of like one of two camps. They're kind of in this like Hollywood camp where there's like one person on set for every single job. So you've got like 50 people on payroll, you know, and they're all trying to make like one piece of content. And that's kind of the Hollywood model. You've got like this massive credit list making one piece of content. And then you've got like social media world where it's like you want like as few people as possible to make as much stuff as you possibly can in one shoot. And so I think in general, if we were doing a one day shoot, I feel like a couple thousand bucks. A few thousand bucks, you know, is pretty standard for what you could get some pretty solid content out of. I think. You know, also another thing with models and actors, it's like if you, if these people aren't speaking on camera and you don't need someone that's like, you know, the top 1% of world beauty, like, you know, you don't need to be paying them thousands of dollars. And that's not to discredit like anyone who's a professional model or anything like that. But a lot of Times it's like, hey, I just need like a normal person to smile. Like, I just need like normal folks that you know, are semi attractive to, to you know, hold our, hold our product and interact with it. Especially for lifestyle stuff. Because you know, first with, with, with a lot of the isolated studio things, we're achieving pretty much all of that in, in 3D and we do do some, some, some studio style things for photography as well. It's still nice to add that in, but I think for us it's really bang for our buck. It only really makes sense to do video stuff for lifestyle when it involves actual people. And so yeah, I think like if you're spending, you know, if you're, if you're spending like 20k on like a handful of videos and 100 stills or something, that is, that's way too much. You know, they granted, you know, props to any videographers and photographers that are charging that much and delivering really high quality, awesome stuff. Because I will say there are some really stellar content creators out there that are well worth 10, 20 grand for a shoot.
- [30:36]
Nick Sharma
Yeah, yeah. The goal is not to make any enemies here.
- [30:39]
Andrew Deutsch
Yeah, exactly, exactly. Like, you know, and I think a lot of those people are scared right now for their, for their jobs, you know, especially with just like what we were talking about earlier of how many tools are being created now that allow people to kind of not need to hire as many creative team members. But I think it'll really just make the cream of the crop like rise to the top, like people that are actually worth the money versus you know, someone that really doesn't. I don't know, they don't, they're not at the level where they can be charging, you know, 15k for you know, a one day shoot. That and the other thing is a lot of times those, those Hollywood mindset kind of like creators that are like more interested in maybe making like a short film or like a traditional commercial. They're really not in that marketing mindset.
- [31:29]
Nick Sharma
Right? Yeah, the content that they create is not for like driving revenue, it's for the, it's to win like a creative award.
- [31:35]
Andrew Deutsch
Yeah, exactly. And, and to be fair, like there's something to be said about these like hero videos that are really cool and funny, but you know, I think that ship has kind of sailed on a lot of those types of ads. You know, I think, you know, like Harmon Brothers style stuff. Like, I don't know me personally, it just kind of feels like 2016, 2017 vibes and maybe that type of stuff. Will have a comeback as we all just collectively get sick of how much short form stuff we're seeing. But yeah, I think times are changing and yeah, that Hollywood mindset is slowly just becoming less and less of a viable business model. Really?
- [32:17]
Nick Sharma
Yeah, I agree. Cool, man. Well, where can people find you if people want to chat with you a little bit more? Learn anything else about the creative side?
- [32:24]
Andrew Deutsch
Yeah, you can find me on LinkedIn. You can find me on Instagram, Andrew Deitch. You can search me up. My last name's pretty unique, so as long as you spell it right, it's pretty, pretty fairly easy to find.
- [32:35]
Nick Sharma
Yeah, if you just Google Andrew Brees, you'll find it. That's how I found you on LinkedIn. Andrew Brees.
- [32:40]
Andrew Deutsch
Andrew Brees. That's my new last name.
- [32:42]
Nick Sharma
Amazing.
- [32:42]
Andrew Deutsch
Drew Brees. There we go.
- [32:44]
Nick Sharma
Yeah, amazing. Thanks, Andrew.
- [32:47]
Andrew Deutsch
Awesome. Thanks, Nick.
- [32:49]
Nick Sharma
Thanks for listening. We'll be back next time to cut through the noise on cpg, retail and E commerce. If you enjoyed this episode, why not share it with a friend? And be sure to subscribe wherever you listen so you don't miss the next one.