Hello everyone, welcome back to Photosynthesis, individual’s podcast where I, Vineet, discuss and talk about photography, the art, the business and videography and how it goes in India. So very, very practical and also very philosophical. Some of these conversations have been so much fun. Today we have a special friend who’s worked with individual a lot, Yogi Indra. Hi Yogi Indra.
Yogendra Singh (00:24.79)
Hello, hello, hi Vinit
I… Top of mind, how has your experience been on Choraha?
Yogendra Singh (00:32.018)
It’s been very hectic for now, since promotions are going on and first episode is out now on YouTube, you can go there and watch it.
Let me give a quick intro. Chauraha is a web series that Yogendra and his friend, camera wale bhaiya is shooting, have shot. They’ve done 13,000 kilometres across India in 90 days on a bike. And yes, the first episode is out, watch it. In fact, by the time we air this, probably the second and third episodes will also be out. We’ll link in the show notes. It looks absolutely fantastic. Tell me about it.
Yogendra Singh (00:55.946)
on a single bike.
Yogendra Singh (01:07.63)
Thank you, thank you. It’s been a very hectic journey for us. Since release was done as a premiere, so that was also very hectic for us. Shooting was obviously hectic because we were on road on one single bike for 90 days.
Wow. So shoot, how did you get the idea? Like where did you begin with this idea?
Yogendra Singh (01:30.882)
So me and Kamrawale Bhaiya have been friends for very long and one fine morning we were leaving for my village, Almora So on the way he came up with the idea of travelling all India First the idea was travelling by car but later on when we started planning and started jotting down the points we thought it’s better to do it by bike Since I am a biker myself so I wanted to do it by bike from the beginning
And how long did it take you to plan this? How did you go about the planning process? Where did you go?
Yogendra Singh (02:06.078)
First thing, our first plan was for 15 days. We were not thinking about doing all India. We thought of touching only MP and Rajasthan. Basically, Sumesh wanted to go to Orchha. I said that if we go to Orchha, we can cover 2-3 more states. But slowly, when we started planning that we can go further after Orchha, we thought that it’s not a trip that can be done in 15 days. Let’s make it a big project.
Let’s plan it for 90 days. When the 90 days were planned, the main issue that came with this ride was budget. We were riding for so long and we were not working at that time. We won’t be able to work when we are on the ride. So we needed a budget to fund ourselves. So we went to Social Sauce, Somesh’s talent agency. They manage Somesh. So we went to them. We had a discussion with Tane over there.
and he said he will fund us for three months. So that’s how that ride started. After that, we got fund, we started planning ki kya chahiye ho sakta hai, bike me kya lagwaana hai, camera me kya chahiye, hum kahan jaayenge, kis din jaayenge, so we started planning all of that.
So one very specific question now, in fact, bike shoots. So I saw visuals on the first episode of your bike also. Both of you on the bike. Shoot from here.
Yogendra Singh (03:32.55)
Yes, yes, yes. What we used to do is, since I was the main rider, when we were leaving, Sumesh couldn’t ride his bike. So what we used to do is, I used to ride bike, I used to maintain bike. So Sumesh used to get down, go down, we used to set up the camera on the tripod, then we used to come back and then we used to sit both on the bikes. There was a recording going on, so we used to shoot like this, that we used to go and set the camera on the tripod.
Yogendra Singh (04:06.96)
70% of the time we were two. At that time we took a lot of risks. Like we were two in Bombay. But in Karol Bagh, my brother was with us. He was keeping an eye on us. He was not disturbing us. This is how our shoot went. In Bombay, we left the camera and came. And we are standing there.
Same in Gujarat also. In Gujarat, we used 200 to 600 mm lens. Photographers know that 600 mm lens has a very wide focal length.
Approximately 600-800 meters, we used to leave our camera far away We are coming from there, setting the composition Then we are standing here and enacting ourselves for what we want
I would still be scared. I mean, in default mode. I don’t want to fall. I don’t want any other car to come. Let the dry-cord fall.
Yogendra Singh (05:06.518)
I am done okay
Yogendra Singh (05:11.702)
Yes, the thing is that when it takes 600mm, it attracts people from a distance. This incident happened in Gujarat. When we were shooting and I had to go far away with my bike, so Sumesh was alone there and a lot of our camera equipment is there. And everything is open. Because that place was such that no one comes there. There was no one 80-90 km away. When our camera is all open and I am very far, so what I see is that far…
5-6 bikes came to Sumesh, 10-12 of them got down and then we started feeling nervous that something might happen but everything was chill, everybody we met were very friendly we didn’t have any problem with the touch wood just like that
I told him that they are putting a speed gun on it. Speed testing is going on here. For the speed of cars and bikes. Who knows. Also, how did you plan the equipment? For this one? Because you have to plan together like one time only. Obviously, you can’t change midway.
Yogendra Singh (06:02.829)
Yogendra Singh (06:08.969)
Yogendra Singh (06:15.86)
Yes, we bought a lens in the midway because we felt the need for it. Otherwise, we had a lens covered from 20mm to 600mm. If we needed anything, we had everything covered. We had 20mm 1.4 prime lens, we had this 50mm 1.8 prime lens, we had 105mm 1.4 prime lens and 200-600mm full prime lens.
telephoto lens but midway we thought that sitting on a bike and shooting ourselves is very difficult on 20mm so we went for 12-24mm also we bought that also yes, everything, no? two lenses were sigma and the rest were Sony
That’s all for now, thanks for watching.
So the 21.4 is Sony, 12-24 is Sony, yeah, and the A73.
Yogendra Singh (07:02.019)
105 was sigma.
No, FX3, FX3 and 2 A73 bodies.
I get even more tensed when I leave my camera 1 km away.
Yogendra Singh (07:18.394)
Yes. And that was shot on FX3, our web series, 90% on FX3. Because we were planning to pitch it to Netflix or Amazon Prime next season.
Ah, makes sense, makes sense.
Yogendra Singh (07:30.094)
That’s why we decided to shoot it on a cinema camera.
And as a filmmaker, as a videographer, what kind of stories were you hunting for? What did you have in mind? What were you searching for on the way?
Yogendra Singh (07:44.122)
To be honest, when we left from here, we had no idea what we were going to find. So, when we reached Jaipur, we can still say that we were wandering around the well. We were just roaming around the place we had read online. We were not able to explore new places. Because there was a fear that something might happen to us. But when we reached Jodhpur, we met some local friends. Like Jai Bhai or Jai Bhai.
So when they made us explore, they took us to an unexplored place. Then we thought it’s better to interact with the people there and ask them where we can go. Then our adventure started because we started to know from people that the place that is not on Google, we should explore that place. Then we were shown that this is also there. Like when we were going to Gujarat, something like that. Okay.
So when we were going to Gujarat, we met a brother from MSK who said that there is a beautiful place in Gujarat called Dhola Veera. We had only heard about it but never seen it. But after hearing it, he said that we must go to Dhola Veera and we said let’s go. This way our adventure was planned.
And were you like targeting that we… So where is the landmark type of, you know, unexplored India? There are the people stories, there are the Rocky and Mayur kind food stories. Any intent that we will do more landmarks or what?
Yogendra Singh (09:09.198)
We have done everything. Our basic mindset was to give 15-20 days to a state. Since we were covering around 12-13 states, we thought 15-20 days would be enough to explore a state. Gujarat is very specific about food. Gujarat’s food is very famous. So we thought that we will go to Gujarat and explore food. And it’s not like we have only explored food.
We went for a trek to different places like Bhoj. Then Dholavira is a very separate kind of run of Kutch. The landscape was covered there. Then when we came to Ahmedabad, we covered food over there. We covered the stories of people in Ahmedabad. There is a walk, a heritage walk. They say that there is a walk from the temple to the mosque. We covered that too. We tried to cover as much as we could.
And it should be said that our shooting was our secondary objective, our first objective was to live that life on road. So that we can tell people about our experiences later.
And what was the plan? How many episodes did you give? We will think about it later.
Yogendra Singh (10:28.474)
No, no. When we started, we had planned to have at least 5 episodes. We used to think that we should not make many episodes and only make 5-6 episodes. Because when we make a scene for so many days, it’s not necessary that we have 90 stories in 90 days. Many days we are mentally blocked, creative blocked, both are tired. Since we were travelling so much, and that too on the bike.
We were doing a creative vlog for a long time, so we thought of showing an interesting story to people. So let’s go for a shorter limit of episodes. So that they get only butter.
Any tips or any challenges that you faced along the way, if someone is planning a… photography or videography bike trip across India.
Yogendra Singh (11:23.779)
The plan we didn’t have in the photography and videography trip was that we were tired. We thought that after travelling 200 km a day is very… I mean, before 200 km, we thought it was very short because we were going once in 6 months. Like we have to go to Uttarakhand, we are going once in 6 months for 200 km. So we thought that after travelling 200 km, we will be able to shoot. But the 200 km that happened each day…
So we felt that we were not mentally prepared and neither were we physically prepared for that. We tried to do some running and running before going. But I think we needed to be physically and mentally stable, I mean to be strong. Because whenever we were going somewhere, the first thing that came was that we were tired, should we shoot or not? And it’s not like only the one who drives ahead is getting tired. It was a little different from car trips.
Everyone else is resting except the driver. It was not like that. The scene was that Samesh was also tired as much as I was. Now we are both. We have to shoot both. It was very challenging for us that after such a long trip, after riding so much we have to get the motivation to shoot it. We are always stuck somewhere. We have shot everything. That will be shown in the next episodes.
Mostly I will say that if any photographer or videographer is planning for a bike trip and wants to document it, then he should first get mentally very strong that if I have to shoot every day after 200 km, then it’s not that easy as we can see.
And from this, how does the story come out? Like what kind of story? So one is more of a travelogue. Here we went, here this, this is. Right. The second is, we have these experiences with us. When does this story get decided? Is this story decided on the edit floor? Or when you are travelling, then yes, the story will come out from this. Note it down now. Or you…
Yogendra Singh (13:14.077)
Yogendra Singh (13:19.074)
Yogendra Singh (13:30.879)
Our editing style is very different. We are very similar but different from the people. So, when we were on the go on the bike, there were two people sitting on the bike, we had to go 200 km and travel daily. So, at one point, we stopped listening to songs because the playlist was reshuffled and reaching there. So, at that time, we stopped listening to songs and talked to ourselves.
Yogendra Singh (13:58.77)
So, the major point of many edits is that we start with the sound of wind. We got this on the go. We were sitting on the bike and the wind was blowing, we couldn’t hear anything. So, we were thinking that people are not listening to the sound of wind. So, we started with the sound of wind. So, the start was on the go.
The idea that the bike will narrate the story came to us on the last day of the ride when we were coming from Agra to Delhi on the road. So we thought, this time the cameraman should narrate the story and make it so that the bike narrates it. Because we were not just two on the journey, our bike was with us every day. It’s okay, it’s a non-living thing, but if a character is put in it, then it can also speak.
So, this was our plan from the beginning. But on the edit, the scene was that we were making a lot of changes. So, the end of our first episode was a start at one point. But we showed it to some friends, they gave some suggestions. Then came Somesh’s suggestions, my suggestions. So, it was a collaborative effort to make an episode. It’s not just one person who didn’t edit it completely. It’s a lot of people’s effort. It’s a lot of people’s ideas.
On the edit, I will say that 72-80% on the edit was done, 22-30% on the go only. We were thinking about the edit, how it will look.
And how does the editing process work in your head?
Yogendra Singh (15:34.502)
Since me and Sumesh were watching a lot of movies on the way, we were picking up something from movies. For example, we were saying that we will shoot an interview. So how will the interview look like? It was being made in our minds. And the scene is that Sumesh and I have become so strong in communication that when he says that he wants this, I can visualize that thing that he wants this. So he keeps telling me and I tell him many times that this thing will look good.
Like our first portion, the tattoo scene, was edited in our mind on the go. If we were narrating someone, like Sumesh narrates, he says that a line is written, this voice is heard in the background, then this line is written, this voice is heard in the background, then it will be cut, then I will come and say that the light is fine, that is fine. All this was edited in our mind on the go.
It’s just that we had to edit it at home and show it to people. But we had already visualized the edit mentally.
And I want to go even deeper into the edit process because so for everyone basically individual and Yogendra have worked on three projects now two of which are already out one is for a Shark Tank pitch video for Barosi Farms and one was for a client Premiere Tech so Yogendra is actually very quick with editing like I think Barosi was delivering it very fast, it was a few days project the third project which we can’t talk about right now which was also a very quick project
Yogendra Singh (17:06.478)
Yo, uh huh.
Yogendra Singh (17:10.549)
one day edit. So how much of this is in your head when you’re shooting the rushes and how do you market? Do you market? Because when you go home, 500-600 clips will come out. How do you know which one it was? How do you increase the speed?
Yogendra Singh (17:25.037)
The thing is, it came with practice only. Because when we started shooting videos, we came from photos background. Me and Sumesh. So when we came from photos to videos, and specifically talking about clientel work, then in the beginning we used to go blind. We were going on set and shooting whatever we could see. So first thing we avoided was that we didn’t want to shoot whatever we could see.
So you will have only a data bank and your ideas will not be seen. So first thing in client, this thing becomes easy that you get a script, what the client wants, it is already in your mind. So when you are going through the script, then you should keep an edit in your mind that this will be cut here, this thing is relevant here, you have to take this shot. So when I am reading the script, then I make a shortlist first that what are the important and relevant shots to the script.
And when you go to the set, and sometimes you write something in the script and you get the set exactly opposite. For example, I thought I will take a B roll, and when I reached the set, I found out that there is a spacing to take a B roll. Now you have to be quick, you have to think what else you can add instead of this. So when you have to think that this will happen. For example, if I say something reliable, then I…
when they were giving the interview, I was focusing on what they were saying so that I have B-rolls related to that in my bank so when I first made a shortlist of my B-rolls before the client reached, I shot all of them so after that when the client reached, they gave the interview, they said and gave the bites after that when I heard the bites
Yogendra Singh (19:15.618)
So I got to know that this is what is being said here, this is about cow’s milk, this is about packaging So I took those packaging shots so that if they speak and if by mistake there is a fumble or sound or if there is a hum in it, then it can be used instead So I have this thing that I take so many shots that if I am asked to edit the bytes as a voice word
Yogendra Singh (19:43.619)
I still have enough B-rolls to justify that
And how do you remember that this is the clip? I have to use this. It’s very amazing. Is there any way that you remember that this clip that I took at this time? Because still there will be 3-4 hundred clips in Russian.
Yogendra Singh (19:59.373)
Yogendra Singh (20:03.294)
Yes, yes, like when I am shooting, for example, I have a very good clip, both are different, the process is different in video and photo. In video, if I have a very good clip, I feel that this is the best clip and it will definitely come in edit. So what I will do is, I will shoot one more video clip after that. So what will happen is, there will be a blackout clip left. So it will be easier when I…
I will sit on the editor and I will only search for the black clips and before that one clip are the best shots
See, after asking 4 questions, such a valuable thing comes out.
Yogendra Singh (20:43.1)
So now I have found out that these are good. Then I will go through again what else can be done. But the main thing is that we find out that this is a very good clip. So this can be done from here.
Great, great. And so this is the edit process. Now let’s say if I complicate life and say you have to work with a different editor. You are just the videographer. Or let’s say, there is another videographer, but you will be the editor. How do you then communicate that both of you are on the same page about everything?
Yogendra Singh (21:03.778)
Yogendra Singh (21:17.162)
See I have done like edits also and I have hired editors also for myself Both the process is a little different that if I want to know from videographer I have to edit for example. Let’s take the first example that I am an editor and there is a videographer So I will try to talk to my videographer before his shoot So that I can know that he is a
what is in your mind and what I am in my mind and then we will talk it out that you are doing this kind of lighting for example, Premiere Tech we had a talk before the shoot because I was shooting and someone else was editing so the editor and we had talked about what shot he wants how he is thinking and what I am thinking he wants this kind of lighting I am thinking this kind of lighting so when you sit with the editor and talk
You have to understand that. Otherwise, you will just shoot and the editor will say that nothing is relevant for him. And every editor has a different style. So it’s better that you follow that style. You have to be flexible. Now, what I do is that I shoot with my hand so that I know that this shot was the best. But if someone else is editing, you have to follow that style. You can’t force that I will do this. You can see that later.
So then it won’t be a collaborative effort, you are just thinking that it is me, me will remain as a factor, not as a factor.
And this is because it was a problem for me too. It took me a lot of time to understand just how important the edit process is. Even I used to think that videography is the more important part, edit is just looking at it, putting it together. But then I realised that the story is coming out there. The story is coming out on the edit floor.
Yogendra Singh (22:56.674)
Yogendra Singh (23:08.371)
So in our first cut, the scene was very different from the one we had made. The end was the start. So when we saw it later and talked to people, they said that there should be some suspense in the end. So the whole story changed. The whole narrative where the first episode ended, we reshuffled the clips completely.
is very important like 50-50. If the shots are not good, the edit will not be good. If the edit is not good, then good shots will not be good.
Yeah. So now, on the client side, when you’re doing video work for a particular client, ad film, et cetera, if you want to make something, I want to ask you, you have the client requirements. Right, how do you go about figuring out that I should do what the client has asked me to do, or I should give my own creative input, shoot extra, if the client is asking for 100, then it will be better if it’s 120.
What is your thinking there?
Yogendra Singh (24:16.038)
I had heard an interview in 2014-15, it was by some director from Bollywood He said that if you want to be successful in life, then you have to deliver 100 rupees work for 1000 rupees That thing remained with me, if I get any work, I don’t look at the money side For example, if I get X amount, I try to deliver 2X
First thing is, if I think that this is a clientel work, I will not give my efforts in it. And I try to show my own side in this clientel work. So it is very important to give suggestions for that. When we started freelancing, I said that it is client’s work, I will do what he is saying. But after a while I am seeing that there is nothing in my portfolio that I can see myself.
which I can say after a year that I have done it because it is clientel work so slowly I understood that it is your work, whether it is clientel or your own you have to be seen in it then I started giving suggestions to clients that here they put this shot here, here this type of edit will look good shoot it like this, shoot it like this but one thing you have to keep in mind in clientel work that you
Don’t be so obsessed with me that you can’t fulfill its purpose. So, both of them have to be 50-50. That you too see but the client also stays happy. So, I think that has happened with practice or with experience. That I explain to the client and understand his point.
And when a client goes back to someone or a second shoot and a third shoot and a fourth shoot, what is the client thinking? There is obviously the budget in mind. There is reliability and there is… I need a stamp of Yogi Indra on this, his style. What is the mix?
Yogendra Singh (26:17.922)
Yogendra Singh (26:26.3)
For now, thank you.
For now, I will say that I don’t think budget is that much Because what happened with me is that I have raised my budget for many clients But they still want to work with me So budget is not that there is no main point that people want to work with me again One thing is that if I have delivered a good job to the client and he is happy Then I don’t consider myself successful in that job
I will be successful when the client comes back and says that he wants to work with you, even if you increase the budget Then you understand that you have delivered something And the first thing you did with the client is that the client is not happy with the work You show punctuality to the client You build a relationship with him You treat him as a friend rather than a client Because what we do with the client is
I have to keep avoiding the client. I see mistakes now. So basically, what happened with me is that many of my clients have said Yoginder, you are very punctual. You have done what you had given time for. So how does this come? For example, you have given me a shoot and I feel that it will take me one day to finish that shoot. So I never tell the client one day. I say at least three days will take.
3 days of backup. If for example, I have an emergency in one day, I couldn’t do it. It took 2 days. So the client is not sad because the deadline is 4 days later. But he is sad because you are not standing on your words. So now after 3 days, if I deliver that thing in one day, then the client will be like, you delivered the work in 3 days in one day. So you are very punctual. So this is a small trick.
Yogendra Singh (28:23.478)
who works with clients and not only with clients, if you implement this in regular life, in normal life, for example, you have given someone time to meet someone, if you meet them at the point where you have given them time, they will be very happy. So, being punctual, I think, which helped me as a freelancer to gain more clients and to work with clients on a regular basis.
I think this is a lesson for all of us actually. Reliability is so important especially in this industry. That there are so many elements involved, there has to be a spillover. So just planning extra and just being extra reliable, being someone that the client can say, yes I know this will happen. Thank you so much.
Yogendra Singh (29:09.715)
Yes, yes. Never be late for call time. It’s small things. I mean, if you focus on small things instead of focusing on big things, I think client will be more happy. Oh, man, he is thinking so much about it and he is putting all of his effort. Never have I ever reached late from the client. I always reach half an hour or half an hour earlier. So this is what it is. Being punctual is like the…
and keep you in this place in the freelance world.
Yes, yes. And the second thing you like doing a lot is stock photography. How has that journey been? I think you have been doing it for the last 5-6 years.
Yogendra Singh (29:42.731)
Yogendra Singh (29:47.958)
I started stock photography in 2018 actually when I started but I never took it seriously I said okay, let’s upload the photos At that time I used to come on YouTube on 5 ways to earn money from photography so there was one of them, stock photography So I wasn’t that serious till 18, 19, 20 that okay, I’ll upload it some other time but
In 2020, the lockdown came. You are sitting at home. You can’t go anywhere to take photos or make videos. So I opened my hard disk and checked. I said, I have a lot of photos. So I got a little serious then. Let’s go on with stock photography. I think it’s been 3 years since I’ve been posting regularly. Now I’m posting regularly.
It’s a great passive way of earning money from photography.
And what advice to you? So basically one is photos, second is videos, like how is the B roll market for stock? And I of course, I come from the perspective individual does have a stock photography marketplace. We are basically just launching our custom site. Hopefully, actually hopefully get will be live. The new custom stock footage site will be live by the time this airs. We are putting together India centric stock footage, both photos and videos, but we’re trying to focus more on videos.
Yogendra Singh (31:15.412)
People want to be making reels, people want to be making YouTube videos, they don’t get Indian footage. So what has your experience been on the B-roll side rather than just…
Yogendra Singh (31:30.291)
I started with photos earlier but after 2020 when reels came in I think the market of photos has drastically dropped because every brand, every person, every individual is going for videos only People are making reels, shots, TikToks, YouTube vlogs I think they have a need in the market for videos
So it’s better to change yourself than the change will change you. That’s the quote. Change yourself before change will change you. So it’s better to change myself. I said, let’s get into B-rolls with photos. Plus B-rolls and videos give you much higher price than photos. Unstocked photography, marketplace. So for example, you get X amount, you sell a photo. But you get 4X amount, you sell a B-roll. That’s also a motivation.
to start B-roll photography videography sorry so that was also a motivation that money is also more plus I wanted to enter in videos so I found this way that we can enter from here also
And Abhi, how is the overall videography market? Like ad shoots, reels, so when a brand does reels, are they doing more product shoots? What are you seeing in the market?
Yogendra Singh (32:54.83)
I think the foreign content in the market place, the US content, the foreign skin has been saturated a lot. And I think the Indian skin and the faces of the Indian people are not that much available. Since India has a lot of population and there are a lot of consumers in India, so all the companies in the world are targeting India.
And now in the stock market place, Indian skin is in a lot of shortage. So now it can do a lot of boom. I think that and now in the shortage, I mean, keeping this thing in mind, we should shoot more Indian content. Because there is no Indian content. You can go anytime. For example, you are watching office shoots. So mostly foreign shoots come. And plus, there is one more thing in Indian content. Because Indian content is in stock photography.
that quality content has not been uploaded yet. So those who are thinking today that we should start stock photography or videography, then there are many scope for them too.
And the other thing is, Indian bhi kya hua? What works in Mizoram for an ad will not be culturally relevant in Gujarat or in Chandigarh. Woh bhi unko local look. I don’t know.
Yogendra Singh (34:10.37)
Yogendra Singh (34:14.658)
Yes, the thing is that when I was starting stock photography, what I used to do is find pretty faces which are good looking, eye-peasing, for them rather than relating to the people. Because the brands nowadays want to show what is happening around us in reality rather than showing pretty faces. That’s why YouTubers are earning more money than film actors.
Yogendra Singh (34:43.414)
can relate to those youtubers, they are people who look like us So when you will shoot normal looking people on stock photography the normal ordinary people, if you shoot them more, it sells more sale also comes more on it so rather than just shooting hired an Indian model and shoot with him, it won’t work Stock photography also funded me as a traveler because I get motivation that
Now it’s time for agriculture, let’s go to Uttarakhand or Haryana or Punjab Let’s shoot there Now rather than I call models and set up a set here and shoot there So what happens is that there is a fakeness in the photos and in the videos too So if you go to the field, first thing is that you will experience the place there So you are growing yourself Second, when you shoot the original people, then your content bank
will look better and diverse so your sale will obviously increase
Interesting, whoever is listening, yes, stock photography can help fund your travels. So please sign up on individual.in. Start uploading all the great B-roll footage you have collected. And even photos, though we’ll be honest, we are focusing more on the video side of things. Because we also see that the market is more… ..required.
Yogendra Singh (36:08.59)
I think videos are going to be the next Instagram one. It’s done now. There are some photos left. I think it will vanish in some time.
And you end up using any experimenting with a new technology, any new softwares, new…
Yogendra Singh (36:23.382)
Yeah, I tried mid-journey. I tried. I am using Adobe AI podcast. I’m using split AI. I mean, I’m using chat GPT for many of my works. Pretty amazing. But that’s it. You have to learn otherwise you will be irrelevant for the society.
And it’s like, uh, we have the experience that you like, chat GPT can really help. Firefly can really help, but you need the expert on top working.
Yogendra Singh (36:52.758)
Yes, yes, you will have to learn like AI, there are many places in the market where they are seeing that AI is taking up jobs. But AI will not take up jobs. Whoever knows AI will take up your job. That will work. So it’s better that I don’t keep myself locked in a cage in photography and videography and learn that thing. Before anyone else who knows it takes up my job.
True, true. We’re also figuring out how to use BitJourney and Firefly for storyboarding. So that we and the editor can be on the same page.
Yogendra Singh (37:22.562)
Yogendra Singh (37:27.006)
Yes, yes. Plus it makes the workflow very easy. Like earlier when I used to edit audios, it used to take hell lot of time. But now after you have done Adobe Podcast, it’s matter of seconds only. I put it there and the audio is edited. And it’s done. It makes my workflow very easy. Yeah, you can. Like your background noise is completely moving. It seems like you have shot a podcast. Such audio comes.
We should also try this. This we haven’t used yet.
And so that was our episode today. Thank you for tuning in on Spotify, on YouTube or any other platforms that we might decide to be in the future on. Thanks again, Indra. This was a fantastic discussion on videography, on setting the tone for a web series and of course on stock.
Take it. Perfect.
Yogendra Singh (38:48.002)
Thank you. Thank you for having me over here.
Thanks everyone, see you next week, bye bye.