Full Transcript of Generator Ep. 017 - "The Freedom of Freelance Videography"
Matt Stagliano 1:03
it snowing where you are? Because it just started snowing here.
Adam Metterville 1:06
Yeah, woke up. There’s a dusting, dusting. Yeah. So it begins with 50 games. The heat’s on. Yeah, it’s good. It’s exciting, though. I love I love what they’re, you know, if you live in Maine, you have to love what, or at least a little bit.
Matt Stagliano 1:23
Well, you know, you make the choice, right. You live here I’ve been I was talking to someone the other day I went out to see Dave precuneus out in Big Sky a couple weeks back. And you know, I fall in love with big sky. I fall in love with Montana. I’m like, I gotta get out here. I was doing. I was doing a commercial project out there. So I come back and I’m like, I could move to Montana. And then someone’s just like, you know, it gets to be like 40 below in Montana. And I’m like, oh, yeah, it wouldn’t be any better than moving from Maine, would it? Exactly. But you know, you’re going sideways. Yeah. going sideways.
Adam Metterville 2:00
Yeah, Montana is beautiful. There are a bunch of times. Have you been out there? Oh, yeah. Yeah. But other folks and work projects and fun projects and. And he says, If anyone says Montana, sign me up, I’m in.
Matt Stagliano 2:16
I was on a huge Yellowstone kick. Can you tell by all the denim this huge Yellowstone kick for a while. And when I when I got out there, I was just like this is this is phenomenal. Like, I feel like I fell into the TV show, you know. And then we were able to I stayed an extra day and we went out into Yellowstone Park. I had never been out there. And so we’re out there trying to photograph bison or wolves or whatnot. And so just a quick story. I had my little Fuji and I had rented like the equivalent, whatever they are like 70 to 200 is there 50 to 300 whatever it is in the crop sensor. So I’m gonna go out there and get my little telephoto lens. And so I’m out there and Dave pulls out, you know, his one dx and the 600 mil I never felt like less of them. Standing with my little camera that was great. And I look over and I see this 600 millimeter lens on an extender, and he’s taking shots. I was okay, I’ll just put this and I’ll see what you have to produce later on. I’m gonna put my camera away Isn’t that adorable little camera that I have. So anyway, when you can probably get started somewhere, but I never know how to start these things. So we’ll just we’ll start where we start. It’s good to see your face man. Like I know, in a while since I think since you came to the studio and helped me with the with the studio tours the last time I saw you, right?
Adam Metterville 3:46
Oh my god, that was like two years ago. It was like two years
Matt Stagliano 3:49
ago for sure. And you know, it’s funny, I still utilize all that footage for things that I do fun shoot, man, I love it. It was fun. I love doing it. But you know, I really wanted to I wanted to bring you on because my circle of photography and all the folks that I talked to primarily photographers, but the deep dark side of me, you know, loves video as well. And I was like We don’t talk to enough videographers and like cool videographers that do a ton of stuff. So as I started to think in I was like alright, how do I how do I introduce Adam, how do I talk about what he doesn’t like? Punk fisherman van life freelance mercenary with a camera, commercial snowboarder editor, gear head like bike snob like I don’t know how to describe it so it will just kind of throw it all out there like Jax and see what we can pick up what. So what has gone I saw this summer you had Metal Fest going on? You’re fishing a lot. You’re out in the kayak. You’re doing stuff for restoration what is it that you do? What is it that you do? What’s your job?
Adam Metterville 5:09
Oh my god that’s like a that’s a loaded question everyone asked me that and it’s very hard to answer because I’m doing a million different things at once. I’ve learned to believe in brace add a little bit I love my free time I love my hobbies I love I love my job I’m very lucky to say all those things in one sentence one paragraph but I mean yeah like the summer was really good I kind of shifted gears the past few years in terms of my my focus and my attention but just my hobbies have not they’ve just been been going at a trajectory of just like 1,000% and fishing is one of those. I moved to Maine about five years ago got big into kayak fishing have a bunch of friends that do it too and oh man, I love spending time in that little motorized Old Town autopilot of mine. I have about probably about 1000 hours into it no past three years and saltwater freshwater that’s a huge passion of mine for sure.
Matt Stagliano 6:09
It’s amazing. I wake up and you know start scrolling stories and I’ll see something and I’m like, watching another sunrise or hanging out with my bald eagle buddies or like you know whatever it is posted three hours ago five in the morning and I’m like what is this maniac doing he’s just an absolute lunatic out there every morning on the lake at some point I’m not I haven’t even rubbed anything out of my eyes yet. No, Mikey’s been up for hours. This maniac. Yeah,
Adam Metterville 6:38
Sunrise is a beautiful thing. You know whether it’s hiking, fishing, I love experiencing sunrises. Any sacrifice of sleep needed.
Matt Stagliano 6:47
Now I just saw you posted a sunrise. Were you in Yosemite? Like ago? Yeah,
Adam Metterville 6:54
yeah. I think it was Thursday to Saturday. Yeah. So under a week ago, I was. I was in Yosemite. Kind of on a whim. I was over there for I think 10 days, so maybe two weeks. And we’re like, let’s just go to Yosemite. It was the best time to go. It was. I mean, I’ve never been to it. And it was just like, blew my mind. And I was like, we need to wake up and do a sunrise hike. Like, okay. I’m like, it’s gonna be sick. Trust me. You know what hiking like the night before for sunset. And then I was like, let’s just wake up at like 330 and just start hiking your body we’re getting into it. You’re sore, but it’ll be worth it. It was it was definitely was very special.
Matt Stagliano 7:36
Now, were you doing were you doing still photos? Are you doing like time lapses? Because I know you do so many time lapses. Yeah. What was what was your intent to get everybody up at 330
Adam Metterville 7:50
I mean, a lot of the stuff like a lot of like by outdoor nature stuff rely I shoot a lot of photos. And I’m lucky if I even do that. Because I’m usually it’s bringing my cell phone and just experiencing and that’s where I go to kind of reset and recharge my creativity. Because, you know, in an industry where there’s a lot of high demand for your creativity. It gets sucked dry. It’s not just like the fountain of youth. It’s not endless. So and that’s where I go to kind of recharge. So for this trip. I went with one battery in one DSLR and just handheld at everything. You know, I’m just like, with it, you know, I’ve seen some good light, I’ll shoot a photo of it if not to be in the backpack. So it’s just kind of like a casual tax write off vacation.
Matt Stagliano 8:32
That’s that’s such the dream. Because you know, even when I go on a hike around here, I’m like, I might just possibly need this cable cam with me. In my backpack, you know, I’ve got a very light 70 to 80 pound backpack here that I’ll never use let me just yeah.
Adam Metterville 8:50
That yeah, it’s it’s all it’s all yours of like, I brought all this crap up here. And I took one photo with like, my wide angle. I’m like, I don’t need to go and bring like a 7200 which weighs like four pounds in itself. And yeah, it just compounds and grows. So I’ve, I’ve toned it down and turned into a minimalistic pack.
Matt Stagliano 9:07
I’m really I’m really trying to get there. There’s something to be said for that. Right? Shooting with what you got. And it’s another reason why I kind of moved from Canon over to Fuji for a lot of reasons, but with the Fuji stuff, it’s just so much smaller, so much more compact. Like four lenses, two bodies in a messenger bag. Right? And some people will be like, yeah, because you’re using a kid’s camera. It’s kind of like alright, well use the user tools that you got and then let’s footage afterwards right so I’m working my way to that. One lens, one body one battery thing, but it’s so zen. I’m just I’m not there yet. No,
Adam Metterville 9:48
it’s anxiety stricken to she’ll have some FOMO be like and I did on this trip for example, like I really wish because I have the 800 RF F 11 great lens for hiking, you know for those like that one compress shot. But yeah, a lot of different stuff like, I wish I had a tripod. So I could do my long exposure instead of like trying to bounce it on, like, my cell phone propped up on a rock. And I’m like, You know what, you get creative. And that’s kind of the process of being creative and doing stuff on the fly.
Matt Stagliano 10:16
Let’s kind of talk about that a little bit. Because through the commercial projects that you and I have done together, like I always just sit back and I go, I want to watch how this guy works, right? Because purely from from the creation standpoint, you’re always you’re always thinking one or two steps ahead of where you want to be. And I don’t know, you can tell me I don’t know if this comes from years of just running and gunning, and shooting on the fly. And just having that bag of tools be like, Oh, this would be a great shot. This would be sick. If I shot through this soda can across this way. Like you do some really interesting things, or is it from storyboarding and prep? Where do you find your balance? Is it running gun? Is it overthinking prepare, I know how, like neuro spicy brains work. So I want to dig into yours a little bit and think about, you know, where does that creativity in the moment come from? Oh, man, I
Adam Metterville 11:12
mean, it’s just like, I hate to say it, but it’s like a lot of procrastination. It really is like, I mean, I kind of wrap my head around, like each shoot, like, Okay, I kind of need like this set of skills like this, this kind of gear, and I just go into the environment, because you never know where you’re gonna be shooting, whether it’s going to be like, a closed in a little dark conference room, or a beautiful open lobby with lots of natural light, or depending on the subject and stuff. So when I go to a shoot, you know, I’m like, Okay, I throw in, like, you know, a grip bag, and like, little little tips and tricks. But I mean, all these things are accompanied by failures through, I’ve been doing this for almost 20 years, it just failure after failure. It’s like, okay, I never want to have that happen again, because I have a lot of gray hairs. And I probably last like, three years at the end of my life because of that, you know, and it’s just a company. So you know, that’s kind of where it comes from. It’s like, Oh, I know, I have a little tip. And trick for that, that I learned from this guy that I worked with my god like 10 years ago, you know, and it’s just kind of, it’s a skill set, just like an electrician, or a plumber, you just learn all these things, and you have like little little tips and tricks and tools to accompany that and get get a good, good at product decks.
Matt Stagliano 12:22
So you know, it’s it’s interesting, right? The the fear of failure, right? When that when you when you fail that first time when you really just screw up mentally, right? And you’re trying desperately not to let the client see or your peers see because here’s the worst, right? They’ll never let you live it down. But in terms of like that screw up, does that instill such fear in you next time that you are a little bit gun shy? Or do you just like, Alright, maybe this time I’ll bring an extra battery and an extra lens? Like, how do you compensate for it? Or do you just suck it up? And say, well, it is what it is. Next time? I’ll try not to do that. Where do you where does that failure generally lead you? Is it to a place of overthinking next time? Or is it just add chalk it up? You know, try not to do it again.
Adam Metterville 13:14
I mean, for the most part, it just like what hurts, like interrupt, utilize it like okay, well, that sucks moving forward, but like moving forward, like I just have, like, it helps me build confidence. At the end of the day, you know, like, I’m like, that’s never gonna happen again. Like, let’s go. And like to point your point, like when you do a failure in front of a client stuff. That’s like a whole other acting that you have to have. It’s like, yeah, everything’s fine. You know, it’s cool. Like, and I’m like, trying to like, I’m like, how am I going to fix this problem? Like in my head, I’m like, I don’t have an extra extra battery. You know, you’re so it’s like, you’re like schizophrenic, or I don’t know, you’re just like, trying to like, be like, everything’s okay. But you’re like, Oh my god. So I
Matt Stagliano 13:58
totally get it. It’s happened quite a few times like this. This past summer I’ve spent on the road filming at all these different ski resorts for large company that’s that makes no making pipe. So the job that you helped me with five years ago, same company, so doing this job, and every place that I went to Big Sky or steamboat or Boyne, Michigan, whatnot, I’d go to these places. And in evitable II, no matter how much I tried to prepare, I would miss a shot or forget to get that thing because you get sidetracked and hey, it’d be great to get this and like you forget the key shots. Thankfully, I’m an over shooter. Like, it’s like, hey, just get this quick. Seven seconds for real sure. I’ll get seven terabytes of footage just down to seven seconds, right? So I’m a career over shooter. But that’s really the only thing that saves me is relying on my ability to overshoot, and mask and edit Post, I don’t rely on it. But it’s just something that I hit a lot do you tend to do you tend to overshoot? Do you get way more than you always need? Or are you one of these, these weirdos that knows the shots and you for the edit and you’re done.
Adam Metterville 15:18
I’d say like kind of like in the middle, I love to overshoot. But like a lot of the times being in these running gun situations for the clients, like you have minimal amount of time to get the shot. So like, I’m trying to talk to the client about conversations about you know, where they’re going on vacation, but I’m like, Okay, I need to get that shot, that shot that shot that shot. And so it’s a little bit of both. And at the end of the day, I usually don’t come back with enough shots, not enough shots, but like, I’d love to overshoot and you know, cover my butt, but it never sometimes the schedule doesn’t allow that. And like I wish I was in that hallway, I get that one show that one sign or this person at the you know, doing the corporate America talk pick up the telephone, like, so it’s a little bit of both.
Matt Stagliano 16:00
So let’s, let’s kind of scale back a little bit. Now, when you’re on these jobs as a freelance videographer, and I know that you work, you know, for several different companies as kind of like a first first camera. And, you know, you’ve you’ve, I guess, like being a lawyer on retainer, I suppose running much working for companies, but I know that you’re kind of you’ve got your own company and your own your own jam. But when you’re on these, these client locations, and you’re working either for yourself or for somebody else, and the good idea fairy lands from the client, and they start saying, you know, we should get this shot. And we should do this. And we should do that. And it happens sometimes in photography to more on the commercial side, you know, an art director to really look at things and be like, you know, we need to change this whole thing up and it throws your plan for a loop. Where do you, from a professional standpoint, draw the line by saying, all right, this was our plan, this is what we’re going to do by changing it. Here are the consequences. How do you manage that thing? Because it happens to all of us in any creative pursuit, right? video, photo, music, commercial, voiceovers, whatever it is, something will go sideways. How do you generally manage that? Because you’ve got a great personality, but how do you generally manage that with the client?
Adam Metterville 17:25
I mean, most of the time that happens when I’m hired hired as a videographer for another company. So it’s really easy, because I’m like, hey, you know, we’re kind of going off schedule, like, you should talk to the producer. So I just like offset it. I’m like, that’s just like, that’s their problem. Like I’m doing, I’m here for this, this. But if you want it, that’s a great idea. That sounds like an awesome project. But that’s probably for another day and another day, right? Because I know, you’re just trying, sometimes they try to do that they try to weasel in another project, like, in the same day, right? And like, I can’t work twice as much, you know, so just try to be nice. And just, for the most part, I just offset it. I’m like, hey, you know, like, we’re kind of getting off schedule for what we’re actually trying to achieve for this project, again, is
Matt Stagliano 18:10
that it’s dancing. It’s that acting, right? It’s that little bit of that little bit of customer service. What’s been in the this past summer anyway, what’s been your favorite job that you’ve worked on? I’ve seen you doing a bunch of stuff. Ton of interviews, like all over New England, all over the country. Yeah, like interview stuff. Do you like what you were doing with was? It’s Greg’s restorations, right? Where He rebuilds the trucks, right? Yeah. Greg’s restorations or do you like you know the action adventure thing? Where do you where do you find like when you get a job in one of those places, you’re like yes, I’m stoked to do this not that you’re not excited to work believe me, but like is doing interviews and getting into the documentary style that your thing or is it more the adventure of being outdoors and getting really cool cinematic shots? Where’s your kind of happy place when you’re behind the camera?
Adam Metterville 19:05
That’s a That’s a loaded question. I mean, because it goes back to like the the diversity that my work entails. It’s like I love those sit down interviews I love the spend an extra you know, an hour and a half two hours lighting lighting one interview making it look really beautiful. Sometimes it’s not it’s it’s running gun covering like a corporate event or I’m at a trade show. And but I love those trade shows too because I was I was covering like this medical trade show in Anaheim over the summer and it was a really fun like it wasn’t I was there covering social media stuff. I was like this is like killing you guys flew me out here for this but I love being a fly on the wall. And that goes back to like my 2019 20 years of shooting, shooting weddings, you know? And but I love the creativity of lighting stuff and then going to know on Greg’s like that’s like that’s my baby. That’s my egg and that’s like I love it. It’s three times the amount of work for but I love it because I shoot, edit, produce, and it’s grown so much it’s grown his business and like, I need an editor at this point. So if anybody knows final call, and wants to learn, Final Cut, hit me up because I might work.
Matt Stagliano 20:22
I’m sitting here going I wouldn’t mind us a little work. But it’s funny, I was thinking about contacting you the other day to to be an editor on one of my projects, because I just don’t want to I don’t want to deal with this. But talk about talking about Greg’s restoration a little bit again. So give me the background on on who Greg is how you fell into this because I’ve seen some of the work and it’s astounding. It’s it’s one of my favorite things when you guys come out with a new episode, dive onto YouTube, watch it because it’s like watching Top Gear. It’s like watching, like getting there. It’s getting. Being able to watch some of these things build out. How did you get involved with Greg and doing this particular project?
Adam Metterville 21:06
Okay, well, just a preface it like Greg’s restorations is a vintage Toyota and Toyota pickup into a Toyota Land Cruiser restoration shop. But they do everything from 1930s Fords. We just did a 96 Nine Ford Mach one video. So he does like pretty much any any kind of vintage car you want to do. He’s been doing it for 12 years. And he his company has blown up. He’s got like 12 employees. We’ve been doing the youth that YouTube channel since like, 2018 2017. Oh, my God, it’s a long time. And yeah, it’s grown his business and all the guys at the shop. Like why is Adam here? It’s so cool. Because every car here is because of YouTube. It’s like, it’s insane. he’s out, he’s two years out. So if you want to get a car, restore by him, save up your pennies and wait next two to three years, because that’s how long it’s gonna take. But it’s fun. You know, it’s it’s it’s been a challenge a lot of time.
Matt Stagliano 22:05
Did the Back to the Future. Correct? Right.
Adam Metterville 22:09
That’s correct. Yes. That’s one of his claim claim to fame is he has a client who collects car movie cars. And he restored the Toyota pickup that was screened use that to the future. He’s worked on the DeLorean. That wasn’t back to future three, he worked on the risky business, Porsche. No kidding. Tom Cruise had in that sold for a ridiculous amount of money. That’s a whole other story. Yeah, but it’s cool in like, I got into that because I have a 1984 van again, that I am constantly working on blowing up. And I drive by a shop to shops right by my parents house in Central Massachusetts. And I was like, Oh, there’s the old van there. And I needed some work done. So I just kind of message them and had some work done. And then I was like, I gotta start doing some some stuff that I love to do. I was kind of jaded in the wedding market and doing some corporate stuff. And I was like, I need to start doing some, some passion projects. So I just sent him a Facebook message one day, and I was like, Hey, do you guys want any video? Like, I’m just thinking like, you know, just like do a highlight video for his website and just like, hey, it’s a great observations and they’re like, Hey, we were thinking about actually have hiring a video company like this week. So swinging on in, and it just, again, snowballed into, you know, we want to do this video, we want to to this car, this car, this car, like, Oh my god. So we’ve been working together for Yes, six, seven years now. And it’s been, I love it, because I’m always learning about new cars, new different techniques, I get to hang out in the shop with the guys, you know, it’s, it’s really cool.
Matt Stagliano 23:48
So because it’s a passion project. And you know, there’s a lot of folks that I talked to a lot about how, especially on the photography side, about how you start to incorporate video into your work, and how you charge for it, and how you pick some of these projects. And you start to build that video portfolio for you, you know, knowing that this was a passion project. Do you approach it with any level of finances in mind? Or are you just like, this could be a really cool thing to work on. I want to learn I want to shoot this for me, and maybe something will come of it? Or, you know, like Greg going into it? Is he like, great, you can come hang out with this and shoot this for free or we have this budget without getting so much into the numbers of that particular project. How do you navigate that space, especially where you do a good job and they start asking you for more video. But you’ve already built this friendship? How do you, you know, start to navigate that space? Because I think we all find ourselves in that space at one point or another. Right? How do you do something like that? Knowing that you’ve got 20 years of video experience behind you. So it’s not like you just rolling up there with an iPhone. So how do you generally go about that dance? Van? Like,
Adam Metterville 25:08
yeah, that’s the sales pitch the front end stuff, you know, I’m not good at the front end sales pitch of it to be honest, like, you’re asking the wrong guy, but at the same time, I go into it like, yeah, this would be really cool. You know, like, I come up, like, you know, how do I go about this? So like, I think about, like a small project that I could do, you know, in my spare time and not lose a lot of money, because it has time. And then, you know, if that goes really well, I’m like, hey, you know, like, this is, this isn’t my normal rates, this is normally the corporate thing that, you know, corporate pays really well. And so I kind of just hash out, you know, a budget, and it’s, you know, sometimes, you know, I end up every project I do, I end up putting away more time than I need to, then I get paid for, but I love it, you know, I have to, if I put my name on it, I have to like, really polish it up, even if the the editing budget time isn’t there. But I mean, at the same time, I’ve been doing it for 20 years, and I’m like, hey, you know, I’m not an intern, and I have a mortgage and I have bills and health insurance X, Y, and Z. You know, I’m freelance, I work for myself, I don’t have benefits. You know, that’s, that’s kind of the front end of it to know. Like, it’s a double edged sword. I’m my own boss, but I have to be responsible to responsible air quotes up there. Sure. Oh, big time. Yeah, I’m still growing up.
Matt Stagliano 26:35
I get it. So you know, it’s always this this weird place to be right. And I faced the same thing. A lot of times I go into it. And there’s that part of me that just wants to do something really, really cool. Whether it’s photo or video, and I just want to get that cool shot. And inevitably, it starts to grow. I think it all comes down to personal taste. How much did I like doing it? Do I want to do this again, with this person? Did I jive with them? I thought it was gonna be cool. But they’re an absolute tick. I don’t know if I want to be part of this anymore. Right? I think we all have to do all these, like, really quick calculations is something I want to be involved in long term. Obviously, it’s working for both of you. Because you keep doing it over and over and over. Do you find that you like to do a series like that? Or do you like the quick in and out in variety that freelance gives you?
Adam Metterville 27:29
I mean, it comes to the balance, who like Greg said, like, a lot less my consistent kind of passion project, but then all the corporate stuff is definitely in and out. Like, hey, we need a videographer next week. Can you fly to, you know, Pennsylvania, or wherever? And I’m like, Yeah, you know, like, I’m kind of like, like, on retainer, like, I’m like a firefighter when the fire, I’ll put it out for you. You know. So it’s a little bit about because, you know, at the end of the day, I’m working from home, like working from home right now working on Greg stuff. But then, you know, I have a couple that I’m back on the road next week, for two days for a shoot for a couple shoots out of Massachusetts. So it’s kind of a balance. And, you know, we’re creatives, and we can do and work with whoever we want. So I have a lot of passion passions and projects. So I’ve kind of tried to accompany myself in those spaces, but not full time. To the point that like, I worked in the ski industry for 15 years, and that kind of sucked, like my love and passion for like snowboarding, you know, and I was like, I hate ski resorts. Oh my god, it’s a corporate engine. So I kind of took a step back from that, and now I go hiking in the woods. But note that too, is a mountain but so like if I work with someone and I don’t like work with them, they call me back for work. I’m like, Ah, you know, I’m busy. You know, let them down easy, but you know, but that’s that’s the beauty of what we could do. Like, I’m trying to like I love fishing. So I’m trying to get into the fishing space a little bit more now. Just just dipping my toes in because I’m like, I don’t want to go full time and get like suck the passion out of it. But I want to give back to what I love to do too at the same time.
Matt Stagliano 29:12
Yeah, you know, I think and I was I was watching some of your Waterville Valley videos. Oh my god this morning. 2012 I think everybody’s loving it and you’re doing some of those right there everybody’s loving it and the Waterville rampage Yeah, they were just like the lunatics I think was the loony bin. Yeah, dude. Oh my God. You’re so watching all these these old videos of yours. And I was wondering like, you’ve been really good about being able to maintain like doing what you love with a with a camera and infusing your hobbies and not necessarily getting sick of it. And I was going to ask you if you’re you’re wandering into the fishing space, the outdoor space Because I remember when I was walking around trade shows outdoor shows outdoor retailer or SHOT Show or whatever these are, and they’ve got their, their fishing area, their hunting area, their tactical area, right? You’ve got all these camping areas overlanding.
And it always seemed like fishing was the the redheaded stepchild of content. Right where it was, like, not really cool. And and I’m talking a few years ago, right? Not really cool. And I’m not really snowboarding it’s not really like these big North American animal hunting, right? You’re getting something that looks like a fish come out of the water every time right? This is clearly not a non fisherman’s view of thing. But it seems like that entire industry, as I’d say over the past decade or so, outdoor in general has become such a content heavy place. Do you find that the fishing realm? Right? I know that content is being produced there. And it’s really starting to raise its profile? Where are you trying to find your niche in that world? Is it the kayak fishing? Is it just, you know, here’s what I can do in general. You’ve got to find a niche in there somehow. Are you hoping to translate your fishing into more jobs or like with manufacturers or just, you know, maybe get a rod out of the deal? Maybe a new motor every now and again? Like what’s your How do you approach shooting and then also position yourself in the industry to say, hey, here’s what I do. How do you position that? That’s
Adam Metterville 31:36
good? That’s good question. Like, I don’t sell myself at all, I’m kind of I’m kind of a fly under the radar type of that’s kind of how I approach things. I was like to say that, like I was on a job recently, they’re like, hey, is there anywhere I can write a review. I was like, No, I don’t exist anywhere. And, and but what that too, is like in the fishing space, I want to approach it and get into it. Because I feel like it’s a new challenge. I know how hard it is to be on the water. So if you get on the ocean, and film things and make it look really good and have good content, it’s just the Lord to it is yes, fishing because I love fishing. And it’s like, the biggest dopamine high ever just being on the water. And like seeing seeing fish, like seeing a school of like dolphins come out of the boat, we’re like, oh my god, like I just love the ocean. So if I can surround myself with it, and just kind of capture the magic that I see from it, like, that’s a win for me. And then you know, and then if I slowly build a portfolio that I can kind of go and try to sell myself to a few companies, but it’s all about the network. And what we have you that I found unique is in New England, we have a you have a network like like for video and photo like and then in the fishing industry, I’ve kind of grown that too. And it’s just the kind of the challenge I don’t know where it’s gonna take me like just like anything in life, I just kind of have like a broad like place where I kind of want to go and just see where it goes. So get my feet into it, get a few projects, I just shot a project this spring that I haven’t done anything with I shot this beautiful fly fishing segment with a break with fishing, my buddy Larry, he brought me up, up and I didn’t know anything about fly fishing or how to shoot it or how to approach it and had a real edit I put together is really nice. I’m like, Okay, I learned so much. But I was I want to do it again. Now, you know, so like, all those projects are pro bono. But the same time I’m learning about fishing and different techniques and different spots that I won’t, you know, that I don’t want to do spot burn like fishing is a big self OPERS especially in me. It’s I
Matt Stagliano 33:44
bet. I bet everybody around here has their spot as their secret spot. Right? I did a I did a shoot photo shoot for a family that had a secret fishing spot on their land here like on the on the skogen. And so they took me to this place, but they’re like you, you can’t tell anybody about this place. I was like, wow, y’all take this really seriously. And they do. And it was you know, a father and three sons and they’re out there. And I’ve never been fly fishing and I you know, I I understand the addiction and the allure of it, watching them. I really started to get it. And I don’t think I got that ever watching. Without being there. I wouldn’t have really understood the meditative nature of it the skill that’s involved, right? The reasons that people do it. And when I was there and shooting, I realized I was like, Oh, I truly understand. Having not been someone been someone that was raised in the water or fishing or boating. I’m learning about it a little bit later in life, which is why I’m so fascinated. But I can imagine that when you’re shooting something like that. You almost don’t want that moment to end because you’re getting good stuff, great subjects, right? Are you the person that’s always pushing for that one more shot? Or one more shot? Or do you just feel it out and go with, you know, the moment that you’re in? I
Adam Metterville 35:13
just yeah, this capture capture, just put me into the situation and see what happens. You know, it kind of comes with a running gun aspect of things, like just shoot what happens in like, oh, that fish surface like, okay, that’s how that works. I missed that shot. But hopefully we catch another one, you know, like, it’s a moment in time. Like, that’s, that’s, that’s the beauty of these things. And it has to do with fishing. They’re there, you get that one little gnome and time? Okay, well, can we do that? Again? You can’t you can’t recreate those things, you know that? That’s the challenge of it. That’s That’s what lures me to try to shoot more content like that? Sure.
Matt Stagliano 35:50
How are you finding? Switching gears a little bit? How are you finding some of these commercial jobs? Right, I was talking to someone the other day, and they were telling me about a commercial photo job they were doing. And it was for a really, really large company. And they brought in like two box trucks full of gear. And, you know, for what will essentially be four or five shots, right? And they’re bringing all these people in as someone that that has worked as a kind of solo mercenary and someone that’s worked on big crews. Are you finding that the stuff that companies
today? Is there this myth that you have to go overkill with these huge crews, when you can really get the content that they need? On one camera? Phone? Maybe Yeah, crew, maybe two or three people? How are you? How are you observing that part of the industry? Right? Do we really need to have seven assistant directors here? Like, how are you finding like, you operate in that environment? What are you seeing out there
Adam Metterville 36:59
be like the bigger crews, I’m like, wow, this is like a big, this is a lot of money, you know, but like big corporations love, love to spend money, you know. But at the end of the day, you don’t need all that stuff. A lot of a lot of my work lately is kind of one man band, I love to have an assistant on shoot just this just to kind of just helped me set up gear. But for the most part, I’m rolling around Boston with my one car and I’m one man band, and I’m making it happen. But at the same time, like we get good content, it could if you have two to three people and you start to stretch out normally, clients like this crunch in all the interviews in one day. So I’m like, running around trying to get on like, go back and I talk to the producer, I’m like, you know, if we stretch this out two days, and it had like, half had one extra person, I could make it look so much more beautiful. Like I’m I’m rushing to set up a light, I’m like, I gotta put the microphone on him. I’m talking to the client, you know, and like, I’m just trying to catch the wave. But if I’m set up, and I’m waiting for that one wave to catch the products really stands for itself at the end of the day. Yeah,
Matt Stagliano 38:07
there’s something definitely to be said, for having a little bit of help, right, so that you can stay in the zone, and stay in that place of creativity, right? So you can look at the entire field and be like, Alright, well we maybe if we do this a little bit differently, and you’re not so preoccupied with is the lab stuck on the inside of your shirt or on the outs. Right, right? So you’re able to focus on what needs to be focused on. But um, you know, I’m always curious about the bigger productions, the ones that I’ve been a part of just seem slow and laborious and plodding along. And then you see the end result and you’re like, we could have cut two or three days off this entire production, absolutely for what you needed. And I try to impress upon people that, you know, sometimes gear matters most of the time it doesn’t. And, you know, having watched your work having you helped me on productions, seeing how you operate as a one man band, I realized that the gear that you have makes a difference in some respects, but you don’t need all the things to produce great content. I think there’s something to be said for that as people start to get into video. They’re like I need, you know, a RED camera or I need a C 500 from Canon. I’m like, No, you don’t. You need to learn composition, you need a better light. Or you need a monopod you don’t need a gimbal or an easy rig or anything like that. The content that you wind up producing, are you seeing more on the web? Are you seeing it commercial broadcast? Where’s your bread and butter like as you as you do more and more of these jobs? Is it predominantly web content? that you’re creating for these companies just so people know what to expect when they’re getting into something like this. Yeah,
Adam Metterville 40:05
I mean, the most majority of all my work is pretty much web. It’s all compressed down, like, yeah, it’s mostly web, a few things have gone to get some TV spots, some some, some artistic things have gotten like, video lobbies, like 100 foot by 50 foot video while we shot content around America for that was a really fun project. That could be a movie shooting that that was that was I should have died a lot of times on the road from that job. But no, I mean, but it’s mostly it’s mostly web, but like to note that like, you know, I’m shooting on a seat C 200. That’s like my main camera. And it’s a really old camera, like, I’m waiting for Canada to drop a new cinema camera, but I’m not going to buy C 70. It’s three or four years old, so I’m just waiting it out. But so you don’t need the latest and greatest. And at the end of the day, it’s how you kind of present yourself in how the client experiences the day. You know, if you’re trying to fumbling and you don’t know the gear and stuff like that stands out, or you’re stressed out, and you’re like, Oh, you’re just a frickin weirdo. You’re like, a camera guy. You know, like, you’re gonna be like, That guy’s probably stole a bunch of stuff from here
Matt Stagliano 41:16
until someone you know. So
Adam Metterville 41:18
yeah, the tools work, but it’s about, about how you kind of present yourself on the day and like, that’s, that was kind of my trading back back in the day, back in the day. Around 2005 to 2008 was like my big training. I apprenticed under like a one man band, Mike Speedo Film Video, shout out to you, the man thank you for everything. Seriously, he taught me everything. Like, I didn’t get any college credit for him. But he would pay me to go after class and watch him edit. I remember to sit in there for like three hours fall sickness, watching him edit, like how he does things. And he took me under his wing and taught me everything. And then we weren’t we did a lot of pharmaceutical work with a producer, Charles Lacan, thank you shall do two men. But those guys those two guys taught me literally everything how, how I, how I work today, and carried carried myself through a lot of corporate and yeah, so like, if you’re looking to get into the industry, like just contact some local production companies and be like, Hey, can I just PA for you guys. And like being a PA is it’s like going to college, especially if you work for a few different companies, because you learn different tips and tricks for everybody. And you know, like Safina told me like right when I first start working there, he’s like, just be a sponge, man. Just be a sponge, like everything and ask questions. And don’t Don’t be afraid. Like, I remember it took me three, three months, they’ll figure out how to drill those guys up a wall, but I could not figure out how to wrap a cable. Three months. He’s like, No, you do the over and over ha what I was in my early 20s and in college so
Matt Stagliano 42:59
there’s a there’s an art to all and what you’re talking about is basically grip work, right? And yes, all of that you know how to handle the equipment on a set, how to properly set up a C stand how to properly wrap a cable, ya know what a stinger is, right? All the you know, you don’t have to go to art school or film school to learn a lot of this. But, you know, there are some of those basics that you only get from people that have worked with before you on this stuff. It’s like yeah, you know how you don’t want to look like an idiot. Don’t do what you’re doing, do it this way. And you know, it definitely saves your bacon and you feel like, Alright, now I’m in the cool kids club when I know how to do some of these things, right? But you have to learn, you have to learn that if you’re going to, you know, be on a set with anybody. Right, and
Adam Metterville 43:46
there’s no real book for i i hate to accredit YouTube but you could probably learn a few things for YouTube but like, a lot of it is hands on like, if there’s a new kid I knew someone new on the settlement. Here’s the C stand open it up. And they’re like, I’m like oh no, like Alright, first first trick like you like I show him how I do it because like they’re big, clunky pieces of metal sometimes you’re really really nice living rooms or you know, you can’t scratch the floor like a lot of lot of little little tips and tricks that you just learned for being on set and like I love teaching you know like that I’ve always said it for the past 20 years is I would love to you know be a retired like I would just love to work in a college and just teach people one on one of this stuff. Because there’s no real college course of how to do it. Maybe an Emerson but all the Emerson that people they they just grow their egos at those schools I feel like and not technique. But that’s just me. It’s
Matt Stagliano 44:48
it says a lot for the experience side right so I bumped into this a lot with with newer photographers that have watched the YouTube videos right they’re all Peter McKinnon down And they’re all you know, they’re, they kind of know the lingo and what to do, but there’s just no depth behind them. They haven’t failed enough, right? And that’s not a judgment, it’s just like you’ve got to, you’ve got to fail forward a bunch of times. And then suddenly, you have that 1000 yard stare, and you’re like, Oh, they’ve seen some shit, right? At the beginning, it’s not enough to just know the lingo you’ve got to be aware of, like you said, if I’m working in somebody’s living room, I can’t just barge in there and do the same thing that I’m doing all the time. It there’s a lot of the intangibles about production that you do have to know. And when it comes down to education, yeah, there really is no place to get that from a, from a true experience, like this person is wise, they’re not just parroting something else. They heard someone say they are wise, because they’ve lived it. And they’ve done it. And so yeah, I would, I would sit for hours with you and just watch whatever education you have on the realities of being a freelance videographer. Because it’s not just have camera will travel. There’s so much that goes into that, as you start to become the journeyman and the expert, and then the, you know, the wizard on top of the mountain at some point down the line. So with that, what are two or three of the best things that you’ve ever picked up? Right, that kind of blew your mind? Was it in editing? Was it in set? Was
it a shot? Was it did you learn what an ND filter was at some point, and you’re like, Oh, my God, I can shoot outside and brights on? Like, what was the what were two of the three of the things that really struck you that changed your whole world when you when you learned about?
Adam Metterville 46:50
Alright, I’ll start with the easy one. And the first one is just just being aware of light, natural light, like just looking at looking at the sun, looking at like, you know, earth, that’s why I wake up early morning and hang out on Sunset, because there’s this beautiful light that time, but that accompanies in, like how to actually bring that light into indoor, and, you know, use lights creatively, and how to key light how to back light, just just just do that naturally on the fly like, oh, in this room, I would like I would use the key light just bounce off the ceiling here or, you know, just lighting in general is just an amazing thing that is just a natural thing in, in, in humans and humans. And then the second one is just video editing in general, like, it is a craft it is it will take you years to become a good editor. But there is a demand for it. Like a lot a lot of my running gun. Can you edit this next week? Can we can you crank this out? Like Yep, you know, and that’s my bread and butter right now. It’s just, it’s just being able to edit, just learning the techniques, like Final Cut X. I know every keyboard command. I am like Mozart on that on that. You know, I can crank stuff out. I can skim through footage. Like I know every little thing in and out of it. Thanks to Mike subido. Again, but like, if you’re getting into video, shoot you and the photographer aside. I know I’ve talked to a lot of photographers, and they’re like editing, I don’t know how to edit. I don’t I don’t like that is baseline. Yeah, you can flip over your DSLR and shoot it shoot a few clips. But if you can’t tell the story with the with those ingredients. You need to go get a new oven or something, you know.
Matt Stagliano 48:36
Yeah, this is definitely one of the things that I wanted to dig into. And this is a whole other episode in and of itself editing. Absolutely. In storytelling, right. From the when I’m when I’m teaching, I always start with story, right? And it’s always like, what is the truly the story that you’re trying to craft? Right? What is the story of the problem you’re trying to solve? What is the client need? What is the what is the vision that you’re trying to bring to life storyboard that out as much as you can use Google Images use mid journey, like whatever, just storyboard it out. And then as you start to shoot, you’re not overshooting, right? You’re kind of shooting for the Edit, and then you get a couple more shots here and there. But when it comes time to edit, as long as you’ve been strong on the vision and the story, the Edit should generally come together from a story perspective. Now where it gets into all the heavy lifting, right is how efficient are you? How’s your audio? What’s your sound design look like? How’s your color theory? How’s your transitions? Are you really getting in there using star wipes? Right? So I think when people think editing, they’re like, I’m just gonna take what I saw on the back of the camera, and link them all together, and it’ll just be one straight series. Not really. That’s not really the way to edit. It is an editing approach, but it’s not really the way to edit And like you were saying,
it really does come down to you being aware of the craft, knowing what your editor does, whether it’s Adobe or DaVinci, or Final Cut X, they all kind of do the same thing Coke, right? But when you’re when you’re crafting the story, being able to know that tool, I think the most intimidating thing for editing for people is learning that new tool, learning the vocabulary. I don’t want to spend the time to learn how to edit in Final Cut or learn Adobe and people ask me that all the time. They’re like, do you edit in Adobe? I’m like, Nope, I added in Final Cut. Because I’ve been doing it since Final Cut like six studio years ago. I know that product. I am not going to try to learn Adobe’s language. I can muddle through it if I am slow and clunky. When Final Cut, I can move quickly. So when it comes to editing, what if you could distill editing down to one thing, right? So is it key commands? I’ve got this little torx box thing? Have you? Have you seen these? No. So
tore box, not sponsored, right? Or box, if you’re listening, this little thing changed my life. And I was using it for Photoshop. But basically, it’s just buttons and knobs and dials and, and you can program everything that’s so I set in and out points and range points and lift from storyline. And I don’t ever have to take my hand off of this thing. And I’m just doing this with my mouse and all my key commands are on this. I say that, to say that, you know, everybody has a different editing style. Some people you know, skim and then bring in favorites. Some people are lunatics. And they put everything on the timeline and then just cut it down. Right? So from a from an efficiency standpoint, what is the best possible workflow for you? Is it like, look through all the footage first and then start the edit? Is it look at a couple start the Edit and then hope for the best? Is it find your music? And then line up clips to that? What is your without going into all the workflow? What’s the general approach to that once you have all your footage shot, where you generally go for an edit.
Adam Metterville 52:27
I mean, for example, for like Greg Greg stuff, I got it. Sometimes it’s like four or five years of footage, sometimes it takes four or five years to complete a build. But we drive around in the car and shoot an interview. So baseline is I take that that the interview clip, and I throw it in the timeline. And I go through and I just start chopping up that clip. Like, okay, he’s talking about the body or the engine. And I just go through and I just I put just little little notes on each one of those clips. I’m like, Okay, this is the kind of the storyline but I want to take you know the motor and put it before the body. So I kind of create the story from that. And then I’ll maybe make some music roughly. And then I’ll just start kind of just putting, putting B roll in different sections and building things. And then I’m like, Okay, I’ll send it to the client. And they say, oh, we need to put this, this this this. So as a few rounds of revisions that kind of go through. But baseline is is telling the story first tell it’s taken when he talks about taking all the arms and ahhs and making them sound concise, because we’ve never seen a concise, you know, shoot from the hip first first try.
Matt Stagliano 53:36
It took me three minutes to ask you that last question. Yeah, I’m never concise. No. No, I think it’s I think it’s a really good point. I think a lot of folks think that they can just shoot the footage and the story will tell itself. So I like that approach of get the story from the client, get the interview done, and then use that as the base to tell the rest of it. And the great thing about it is we can chop things up and you can move statements in different places, right? If I were to edit this video that you and I are filming right now, there are probably points that I would shift around to tell the story of the interview a little bit better. Yes, totally. Okay. But it’s also listening for those moments to say, Yeah, that should actually go up front, or that’s, that’s the ending quote that’s going to end the film. And there it is. There’s that moment. Do you do much sound design yourself? That
Adam Metterville 54:35
really, I mean, in terms of sound design, not really like, I have a few websites where I download music, so I can use it on the web that’s license free, but no sound design. I know a lot of really good musicians and stuff and I never really picked up any of that. I just really liked music. And now I don’t record anything. That’s
Matt Stagliano 54:56
how you started. Weren’t you going to like punk shows and filming Like, isn’t that where you start our skate videos? Is that what you started with?
Adam Metterville 55:03
I? Yeah, I just Yeah. When I was like 12 I was stealing my dad’s camera and in and in film my friends skateboarding and that that’s how that’s how I got into filming. CK why Bam Margera pre jackass, I was like, oh my god so I we had a skateboard team RK rank clothing. I built my I built my own video editing computer. I taught myself Photoshop, like that’s how I kind of get into it. Post COVID I post college, excuse me. When I graduated, I quit all my jobs. And then I was a band roadie for a couple of years for a few different tours. So I traveled the country doing that, just like hey, Mandeville, come on tour and just just hanging out. And you film a little bit if you want. And I made some pretty there. A lot of the footage will never see the light of day split that way. Had a lot of
Matt Stagliano 55:55
fun. Right? Yeah. Yeah, that’s
Adam Metterville 55:59
a good stories, because I travel the country and with some of my best friends, and yeah, that was America. 101. And, yeah, my parents were really thrilled when I told them that. And then I was a ski bum for like, eight years after that I was living on floors. And so yeah, growing up is a slow process. And
Matt Stagliano 56:21
but you know, the guy with the best stories at the end of the day wins destiny. So I think, you know, if you’re collecting stories, it’s not necessarily such a bad thing. You’re done with wedding. Right? For the most part, right, like you’ve taken a huge step back from wedding. Yeah. All right. So I say that not to not to go down the wedding. But a lot of photographers and videographers at weddings are, they can either work together really well. Or pure oil and vinegar. And I know you’ve seen both sides. Yeah. So what is? What is what is your? What is your one approach? Like, pre wedding? Are you meeting with the photographer’s and feeling them out? Or are you like, in the moment on the fly? Because you’re doing your thing? They just show up? How do you navigate that dynamic? And when do you know that it’s either going to be an awesome day or it’s gonna go off the rails?
Adam Metterville 57:28
It’s a double edged sword. I mean, man, it’s pretty tough. So PTSD for me. Okay, so photographers and videographers. Yeah, they have, they usually have a bad rap. And I second shoot, so I just show up and I’m like, okay, who’s this like a shooter? Because I’m usually what the guys like, Oh, they’re pretty cool. And you know, normally the first, the first, like two or three reactions, I’m like, okay, they’re going to be difficult, and I’m not going to like them, or, like, this is going to be an awesome day. And I go into it with a cup full of optimism. I’m like, Hey, how you doing? You know, this is gonna be great. Like, this is kind of how I do I’m a fly on the wall. I don’t exist, you know, but don’t get in my fucking shots. You know, like, at the same way, like, like, like, just have some spatial awareness. And oh, my god, some photographers don’t. And like, I’ve almost gotten to some fistfights before, I’ve been like, I’m really easygoing. But like, you have to push me over the edge. And if you do, my God I haven’t like told people off. But like, I can be very passive aggressive the rest of the day and just stare at them and like, let them know that they are just absolute pieces of shit. I hate to say but like, I hate some photographers. And I’m like, Oh, my God, staff photographer again. Here we go. Here’s the back of the head all day. And I’m over six feet tall. You can see me.
Matt Stagliano 58:51
Yeah, you’re not you’re not hard to miss. You know, the, I think you could probably flip it around and talk to photography. Like there’s some videographers all the time. I’ve second shot. I’ve never been a primary on a wedding. But I’ve second shot.
And I get to see it’s a wonderful place to be when you have zero responsibility except show up and press some buttons. I’m all over the second shooter gig. So but by watching the interactions between these two independent teams basically that have the same job, right, get the shot on that day. I’ve just always found it curious that there’s such a competition between the two, when when you see it done well and there’s a proper dance between the videographer and the photographer. You both get these incredible shots because you’re seeing through each other’s eyes. And so I was just curious if
Adam Metterville 59:50
I was right to the negative thing, but yeah, there is a good dance and like some photographers, oh yeah. In and then like, you know, like, oh, we worked well together. We should try to like Networking in work together. And it is a dance. And it’s a really nice thing when you are able to work with a photographer. And the same thing because video and photo for like, you know, the portrait sessions are always the most stressful. Sure you get 15 minutes because the timeline is all wacky, and the photographer has to get their portfolio shot, but like, I’m shooting 24 pitches a second I need like, at least, like give me a minute and like sometimes like that’s like not like, oh, you know, like, they, they don’t value that those two things. But at the same time, it goes back to the corporate thing and the client experience, it’s all about how it’s all about their day, at the end of the day, like it doesn’t matter about your ego and like you’re getting the shot for some magazine, it’s about their day, it’s all about them. It’s about their experience. No one cares about if you’re gonna get that photo in a magazine, or you’re gonna get the super sick edit in everyone’s gonna like on Instagram, you’re gonna get tons of gigs afterwards. To the day, it’s not like, chop down your ego, it’s all about them, have some fun with it, and bring snacks and either bring snacks. That’s my that’s
Matt Stagliano 1:01:06
the thing. That’s the only type of advice that someone that’s been in the trenches can give, bring snacks, bring snacks,
Adam Metterville 1:01:15
your body’s gonna get it, you’re gonna need it. Trust me. The wedding planner is gonna forget to feed you at the end of the day. And then there
Matt Stagliano 1:01:23
is why would you rather fly a drone and just sit somewhere and look at a small screen, then run around, run around a wedding? Because I’ve seen you do both?
Adam Metterville 1:01:32
Oh, yeah, love to sit around, find a drone. I wish I just shot photos because you guys just carry around like one camera and just like do a second shot. I’m like, This is so easy. You guys got it made. I hear I have like after like three cameras and all this crap. And then like struggle to get audio and you guys like Oh, take a picture. Alright, so
Matt Stagliano 1:01:51
let it be. Let it be known that Adam thinks the photographer’s job is easy for contacting Adams and that to info at below. Love to talk shop.
Adam Metterville 1:02:02
But I’m out of the game. You know I have. I’m second shooting for like to think next year. But yeah, you gotta you gotta. You gotta make it. Really? You gotta make it worth my while to go back into the wedding thing.
Matt Stagliano 1:02:14
Yeah, so So what’s what’s next for you? And I know you you ran meta Fest this summer, right, which is kind of like a road biking. Let’s call it burning man meets rode bikes. Meet the middle of Portland, Maine. Is that about what? Uh, yeah. I
Adam Metterville 1:02:33
mean, yeah, I was like, you know, just having a few drinks a night. And I was like, I was always having this idea of like, I just want to get all my friends together and show them how sick Portland is in the in the bike scene. I got big into biking about five years ago. And I’m like, How can I get all my degenerate friends together and like, okay, like manifest manifest spawn from I used to have parties in high school. He’s called Manifest. They’re pretty sweet. So to make it a little bit better and more mature, I was like, Alright, if we’re gonna do Medifast, we’ll do we’ll do a little biking weekend. And then everybody chips in, you know, 2030 bucks. And then I’ll donate it to, you know, a charitable bike thing that’s in the city. So just kind of excuse for my me and my friends to get together and ride bike and race a little bit of money and have a little fun. So we’re going to be doing one next spring for sure. Come bike, it’s super fun. Weird.
Matt Stagliano 1:03:28
If I could if I could last the distances. And I was like, maybe I’ll go Mayo go hang out with Adam and bring my bike. And then they’re like, Oh, we did 137 miles today. And I was like, they can take the footage. I’ll watch it afterwards. I don’t drive that far to go. No, I
Adam Metterville 1:03:53
never thought I’d be getting into it. But yeah, a lot of bike rides. They’re fun, man. Like, they’re, they’re scary at first, and they kick your ass. But like it keeps you in shape. You know, I’m getting older. I’m starting to see my mortality. So it’s, I don’t live in the mountains. So I can’t hike mountains all the time. So that’s a good, good transition.
Matt Stagliano 1:04:13
Oh, come on out. Well, what’s next? What’s next for you? Man,
Adam Metterville 1:04:18
I’m just kind of this. I’m kind of still in a transitional period. I mean, everybody wants to shoot a movie. I mean, all said and done. Like, I have a couple of movie ideas that I like, they’re just in the brainstorm phase. There’s one that’s going to be if if I’m ever really put the pen to paper, it’s going to be a really good story. Just just to be creative, just to live life and experience everything that there is. But with that, too, like I tried get into. I want to get more into the TV space even though it’s gonna be a pay cut and stuff. But I love those bigger crews. I mean, I don’t want to jinx it, buddy. Last year I was 98% close to going on life below zero and live I’m going to attend a negative in Alaska build for that. Yeah, they’re like it’s cold. I was like, You have no idea i i need to be there. And it’s but so like, you know, getting into like the TV space like more higher production stuff I know that will make me have to maybe leave me maybe not but
Matt Stagliano 1:05:23
all the time you go
Adam Metterville 1:05:26
yeah no it’s good to good to have me as a home base though this is living
Matt Stagliano 1:05:31
on the road is is not as bad as people make it out to be I love I love being on the road. Where Where can where can everybody find you? I know you said like, you don’t exist online. But but we’re this we’re doing this. Yeah, at least have a website. I got a website
Adam Metterville 1:05:47
and medical.com Log on today. Yep. It’s a little rudimentary. I’ve been we’ve been your revamp, but it’s there. It gets the job done. Means I exist. My Instagram. I think Adam dot medical. And that’s pretty much it. Yeah.
Matt Stagliano 1:06:08
It’s, you know, it’s be be happy that you don’t have an online presence that you have to manage? Oh, yeah. Happy that, like every now and again, you’ll pop up on social media. I’m like, Oh, my God, he’s alive. Okay. You know, in June and see if he’s still around.
Adam Metterville 1:06:22
Yeah, I mean, what that’s just speak to that too, like life online is you know, it’s a double edged sword. I know, I a few years ago, I deleted my Instagram, totally, and just went offline for six months. And it was the most freeing thing ever. Like, oh, I’m experiencing this sunrise. I’m catching this fish. And just to do it, because it’s a moment in time. And I don’t need to, like brag about it, or make myself look cool. Or just like, do something just for the likes. You know, like, that’s not what life’s all about life’s about experiencing all these things firsthand. And yeah, maybe maybe capturing it, you know, because like, we are creatives in showcasing that, but then it goes by so quickly. There’s so much to do out there. Like, don’t just get stuck into watching tick tock videos all day.
Matt Stagliano 1:07:09
It’s the worst. And it’s you know, whenever I do stumble across something that you’re doing, it does make me drop the phone and be like, you know, he’s out live in life again. What am I doing? I’m, I’m still good. And I’m looking at tick tock and I’m like, Hey, man,
Adam Metterville 1:07:25
I just, I’m like, I’m just I get sucked into it too. And like it, but I left the house for four days.
Matt Stagliano 1:07:32
You’re probably gonna do so but that’s the thing that kind of jolts me out. And I’m just kind of like, Alright, let me get out. Let me get out into nature. Because Adam says it’s good for you. So watch out for my stupid mental health and get outside right? Like I’m saying my man like,
Adam Metterville 1:07:47
if I wasn’t well, actually, my dad’s coming tonight and I have to go up to camp today for for the whole weekend to winterize it out of office because you know, I am my own boss. So you know should be editing. As we all this always editing. It’s always going to be there but
Matt Stagliano 1:08:06
always editing and there it is. There’s the title for the episode. There’s just like George Costanza. Never know, Adam. Thank you, man for joining me. Yeah, thanks, man. Yeah, exactly. It never never ends. The editing never ends. But thank you for being here, man. Like this is this is a ton of fun. I’m glad we had a chance to catch up. And if you’re, you know, you’re heading up north, and the house is finally habitable. So you can come through and crash here and bringing the dog and yeah, man, it’d
Adam Metterville 1:08:38
be great. Yeah, no winners here. Let’s do that. Let’s go to Mount Abraham or something.
Matt Stagliano 1:08:42
You know, and considering it’s, it’s I’m looking outside and it’s snowing pretty heavy right now.
It may happen sooner rather than later. So I guess we’ll we’ll see dry ground again in May at some point. But for the next six months, this is what we got. So thank you, Adam. I really appreciate you being here, man. And I’ll catch up with you soon. Sounds good. All right. Hang out for a minute. Thanks.