S5 Ep10 Is "Out of Egypt" Done YET?! Post-Production Update

The second most common question that we receive (beyond "how was your trip?"... see our previous episode) is "When will it be finished?" Stuart and Craig provide a post-production update on "Out of Egypt" and "Lessons From the Land: the Gospels" since our return from Egypt and Jordan and get brutally honest about our timeline, funding situation, and goals for these projects... and beyond! 

The inRoads podcast is a production of Appian Media, a non-profit video production company dedicated to using compelling media to re-engage people with the Bible. Learn more and support the mission at https://appianmedia.org

Transcript

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We're back from Egypt and Jordan after filming what is our most ambitious and exciting project to date. And in this episode, we are going to pull back the curtain and start to show you what post-production looks like for an Appian Media project. That's coming up today on inRoads. Welcome to inRoads, where we share real world examples of digital evangelism and provide tips on how you can use today's technology to spread the gospel. Learn more about us and watch our free video series at appianmedia.org. Appian Media is currently in post-production on our next documentary series“Out of Egypt”. You're invited on this extraordinary journey through Egypt and Jordan as we look at one of the possible routes of the exodus. We'll share about how you can still be involved with this incredible project later in the show. All right. So so I'm done. I wrapped it. Everything's edited, ready to go. I'm just going to release “Out of Egypt” tomorrow. It's right. So, somebody over the week... Not true....asked me they're like, hey, how's how's post how's editing going? You know? And it's a question that you get more than I do, but like I, you know, I stopped and I was like, well, it will go at some point. I mean, it is happening. The things. That things are beginning to. Occur before video clips start getting cut. There's a lot that needs to happen before I start moving clips around and cutting clips and you know, and you're involved in some of that. I am. And this is exciting. Like we started doing that during “Trial and Triumph” before to go way back to the beginning, to the beginning of Appian Media. We used to get back from a production trip and then drop a big pile of footage into Craig's lap and say, Hey, Craig, make something. Make a story. Make a story. And we were like and so we learned that that wasn't the most efficient way to do things. And that's not the way the industry does things. Right. And so trial and triumph, we kind of we kind of turn the page and flipped the script, so to speak, and started doing a script after we got back. So basically all of the spoken content in the field, whether it's Jeremy, whether it's an interview, whether it's a behind the scenes, gets transcribed through black magic. Yeah, that's yeah, let's call it artificial intel. Artificial intelligence is really. What really impressive. Yeah. And we create a script that we can then kind of cut and slice and make a story that then gets handed to you. Yes. And then you can start to put stuff on to a timeline. Well, that is where we are right now. Correct. We are in between production and what I would consider to be I guess this is still post-production, but what I consider to be editing. Yes, I think that's fair to say. And so the idea of, you know, to some that might sound like an extra step. Why would you take the time to move words around? Why don't you just get into the video and start cutting? Right. It is far, far easier to move the words around on a document. Yeah. And say, you know what, I actually think that this conversation needs to be here and this piece makes more sense here. It's way more, you know, simple for you to do that, for the writing team to do that and then hand that to me. What's awesome about the program that we're using and the process that we're using is not only is it the words transcribed from every spoken piece of content, but it's the time code and the time code for those who don't know. It's it's where we can find on that video clip, those specific pieces. And so I can say, okay, here's this conversation that Stu has. He wants this scene to begin with, this sound byte. Here's the time code where I can find that clip. Right. And then really it's you're basically handing me a box and saying, here are the pieces, here are the puzzle pieces. Now put the puzzle together. It was such a valuable thing for you to do that with trial and triumph, because trial and triumph was far less formulaic than following the Messiah and searching for a king. Those scenes were were kind of planned out ahead of time. Those scenes played out very similar to the way we anticipated they would. And, you know, scene one went into scene two went into scene three. Well, trial and triumph was different. We didn't quite know what was scene one going to go into scene two or was there actually going to be a scene one and a half here. And. And boy out of Egypt? It's even more so. I think it's even more so. We know where the narrative goes, right? We know it starts with slavery. It ends with looking into the promised land. Yeah. And we know that certain key things need to happen, but there's so much content that we shot, so many conversations that we shot what order do we tell that? That's what you're working on? Right. And even more so, I mean, with trial and triumph, we we had the story. We went in and we shot the story and we came out and we put the story together. This one I'm already hearing from our story team that we need to go in and rewrite parts of the story because we went in to the country. We went to Egypt and Jordan with ideas of what was going to happen. Right. And some of those ideas changed. Right. And so it's like, okay, we don't want to just try and wedge it in there to make it look like we were able to. We want to tell the story as organically and actually as genuine as it really happened to our team. And so it means that we're going to need to go in and rewrite some different things. And so it is a process and I think with any movie, with any television show, it's a process that has to happen. Otherwise you just have a pile of, you know, beautiful footage and maybe some some conversations that may work or may be disjointed or it's just it's it's all about the story from from from day one of pre-production through the release of the project. It's all about making the story and crafting the story. And I think I heard somebody one time say that you make your story the first time in pre-production and in writing, you make your story again in production, and then your story's made again in post-production. And even when our story team goes in and cuts this transcript up and makes it, you're still going to find places where there are holes, whether there's something that we need to bridge or you're just missing a piece of the puzzle. And so we need to figure out. We need to problem solve and figure out what how do we tell that piece of the puzzle? Yeah, there's different tools to do that. Absolutely. And that is not uncommon now, especially for documentary films. It is rare that you will go shoot all the footage you'll ever need, come back in the editing bay and edit it together. More often than not, you'll go and get most of what you need, and when you start editing, you'll go, Oh, I need a bridge here. I need to be able to link these two scenes together and I don't have what I need or not so much. I didn't plan ahead, but I've got a better idea now. I could shoot this voiceover or I could shoot another interview, or I could maybe even shoot a scene. We did that with Trial and Triumph, where we we had the the seven churches of Asia. We visited the seven churches there in Turkey. We knew that it was based on Revelation two and three, but it wasn't until we saw the rough cut, which was basically me following your outline to the letter. I had some ideas and some things I wanted to add and change, but I was like, I'm going to do just this, just to get us started. And we all recognize after that first rough cut, okay, there's there's some things missing. We ended up going back into our studio and shooting some some B-roll, shooting some, some cinematic sequences so that the reading of the text could be done. So that required bringing Jeremy in and getting his voice over. And I know that's going to happen. Yeah, I know that's going to happen with out of Egypt. Um, yeah. And again, people may think, well, that's, that's a lot of time. Just get in there and start cutting. The more time we do this, that's happening right now, the more time we save. Yeah. Going round and round and cutting and recutting and new revisions. Um, you know, when I was finally able to get your script from, from trial and Triumph, I was able to put a rough cut down on a timeline faster than any project we've done before. Oh, that's great. It was such a joy to just quickly see pieces come together. Because that's some of the that's some of the nuts and bolts that has to be done before you get into it. I would consider the more broad strokes of, of artistry. Um, and that's, you know, coloring and that sound design and that's, you know, really embellishing different pieces. It's the pacing, exactly the pacing. But you have to get those pieces onto the timeline. And so a lot of times, you know, you are you are the editor. You are everything for for the post-production. A lot of times you'll have an assistant editor who comes in and lays all that on a timeline, and then the actual editor of a movie or a TV show will come in and add the pacing and the and the artistry to it. And then it goes on to a colorist. It goes on to a sound designer. There's all of these people, you know, I would love to get to that place where we have all of those roles broken out. Yes, please. In happy and media. You know, obviously, from a funding standpoint, it's not. And so a lot of that falls on you. We've used Jet. I've jumped in in a couple of places, you know, so we're trying to add those different things. But it's a long process for us. You know, post-production is easily I don't put a six month plus endeavor on any of our projects. Yes. You know, there's two weeks, two weeks to three weeks that we spend doing production. There's months of pre-production and then there's months of post-production. Yeah. That make this this come together. But we, we want to make sure and give it the time and the energy that it's needed because this is something that we want to live for a long time. Right. It's not a you know, we live in a culture now where a YouTube video or a Tik Tok video or something, it's it's it's here and it's gone within a day. And then it's irrelevant within six months. Exactly. It's laughable within a year, you know. Exactly. Yeah. But you know, I think you can look at following the Messiah and searching for King and and there's there's people discovering that new today good grief almost getting close to ten years after it was created and it's still just as relevant and I think just as good as it was on day one. And that's what we're going for. That's right. And that's why the process takes such a long time. Yeah. And honestly, why it's expensive. You know, a lot of times people think that all of the money goes toward the camera gear or the flights or production, the production elements of it. And there is a big chunk that goes toward that. But there's still also a big need after we return, because it takes time. And time is money in this industry to make these things as good as they can possibly be. Yeah, and money doesn't answer everything, but it is it is accurate to say that the more money we are able now to raise in post-production to a certain degree, the faster we will be able to get this out. Yeah. So when people say how long is it going to take? Because those are the two top questions I get. First one is how is the trip? And if you haven't already, go and listen to our previous podcast. Yeah, easily the longest episode we've ever released. I think so. But man, we get into the weeds and in such a great way like that will answer. I think most of the questions that you've got. How was the trip? The second most common question is when is it going to be done? Yeah. And I can't answer that. You can't answer that right now for a variety of reasons. But I can say accurately that if we raise more than what we currently have projected, yeah, you can start hiring an editing assistants, you can start having people work simultaneously. It doesn't all bottleneck with me. Yeah, not anymore. Sure. Yeah, not anymore. And so we have good resources. That's right. We've got incredibly talented people that are already doing doing great work that could be even more efficient funding permitted. So if you haven't already become involved, here's a plug. Here's a plug. And we're going to do this later in the show. But there is still a need and post-production would be greatly benefited by people's continued support. I will say there are periods of post-production, anyone, whether it's editing, video or any project that takes months. Yeah, right. And this will easily take months. But trial and triumph almost took a year between production and final release. But anyone who's been involved in a project of any kind that takes months knows that there are times in that where it's so exciting and you're just you're living the dream. You're you're doing what you love and it's coming together. And then there are times. And usually for me, it's about two thirds of the way through. Yeah. Where it's, it's difficult. You're, you're trudging through the work, you're looking at the same footage you've been looking at for the last six months and you're trying to make things work. Our team, and I'm so thankful for them. The more people we have involved, the the more eyes we have to look at it, the more that kind of helps me personally kind of re-energize myself. I'm able to watch a scene from their perspective now and that, you know, triggers some new creativity or inspiration. For me, um, having more hands on this has only proven to be more valuable for us. So when you think about the timeline, you think about our first trip trial, and it was a following in the CIA episodes one through five. I think our first trip was in June of 2015. You remember that? Yeah, right. And then we released it in January. Okay. Our next year we were doing episodes six through ten. We took a trip in July and released. It in January. We have never released anything that fast. Yeah, since. Right. But the reason why that one went so quickly is because the format had already been developed for the first five episodes. Yeah. And I was able to, I mean I was cutting scenes within a week of returning. I got over the jetlag and I was cutting scenes searching for a king. We shot it in May. Released it in January. Yeah. Trial and triumph. We did not set a release date, and I think that was very wise of us. We wanted that to take as long as it needed to take to be the story we intended to tell. And that's what we're telling people now. Yeah, I wish I could say yes. It's going to be out in July of 2023. Please don't expect that. But trial and triumph was October over. To October. To October. So that was a full year. Yeah. And so, you know, and who knows if that's what it will be for. It may be longer, it may be shorter. It, like you said, it all depends on it all depends on money because money can then help build the team out and make things more efficient. To have an editing assistant would be a dream, be fantastic. It'd be a dream come true. You know? And we're not making any promises. But we've talked about two projects. We've talked about lessons from the land, the Exodus and out of Egypt. And I still personally would love if it was at all possible to do that, because what it does is it then gives people the content for elementary age all the way up through adult. Yes. And I think that's always a super exciting thing, because what happens inevitably is people will see out of Egypt and go, I want this for my children. And then if it's, you know, another year, whatever the case may be, they have to wait longer. But like, I mean, so yeah, but, but yeah. So I want to take a break and then I want to come back and I think I want to get into what we still need and break it down a little bit from a dollar standpoint. And what we have left in terms of like where the money would go and all of that. So people are aware of the the process. Yeah. And you know, kind of talk about what the next steps are after I hand you or our story team. It's not just me hand you a script to kind of start working. Off of and then if, if, if it's all right. Based on our conversation we had with Doug Wise a few episodes ago, let's talk about the changing nature of distribution. How are we then going to release this? Yeah, how are people going to expect it? You know, what does distribution look like in 2023 or so? And yeah, let's let's open that Pandora's. That would be cool. I'm excited for that. Okay. So we're going to take a break and we'll be right back. We have returned from our production trip to Egypt and Jordan for our next major project out of Egypt. Looking at the biblical lands of the exodus, our crew travels to ancient Egyptian sites, took a four by four through the Sinai Peninsula and camped in the deserts of the Jordanian wilderness. On this incredible journey, while principal production is complete, post-production is just getting started and there are still opportunities for you to be involved right now. If you go to fundraiser, dot, AP and media dot org, you can help support the post-production and distribution with a donation of any amount. Your donation will ensure that we can make this series the best it can possibly be and ensure that we can release this as soon as possible. AP Immediate is a501c3 and all donations are tax deductible. Please consider donating today to make out of Egypt a reality and thanks. Well, I think very much like that that break just kind of explained is, you know, we are in this post-production process, we're in the distribution is on the horizon. It's pretty far on the horizon, but it feels like it anyway. But there's still there's still additional needs and, you know, we had an amazing fundraiser. Yes, it was unbelievable. We raised 200 we raised over $200,000 in a week, which is the most we've ever raised for a project before. Yes. And that did that did amazing things for making the production of this possible. Yes. As we were talking about in the fundraiser, this was by far the most expensive production we've ever undertaken. And, you know, we worked diligently prior to leaving to get that budget down. You know, I was working behind the scenes with the fixers to say, hey, can we squeeze this back a little bit so we can, you know, knowing that we needed some padding? Yeah. And we absolutely used that padding and then some, you know, and so where we're sitting right now is we had we had enough money to pay all of the people involved with the production. Yeah, production is complete. Production is complete. Yeah. And you know, I think as of as of last week, I paid the last invoice for production on that. And you know, thanks be to God, the money was in the account and we were able to pay for it and it was awesome. Yeah, but we are in a place now where in order to really get post-production up and running, we need to raise another $95,000. And it's not going to be something that we're going to constantly be doing fundraisers for. Correct. You know, giving Tuesday. Well, this is actually at the time of this recording, this will come out after giving Tuesday. So giving Tuesday is behind us. Yeah, but a. Different approach this year. It is a very different approach and I think it's good. But $95,000 would cover the post-production for Out of Egypt with as you mentioned before the break, you and an assistant editor in the funds we need for a colorist and for sound design and for music. But talking about workbooks, writing and printing and which kinds of things. Which is one of those things that often doesn't get included. When you talk about production, you talk about video production, we talk about traveling, we talk about hotels, we talk about camera gear, all that stuff. But we also know that with every project, we want to create a workbook that's just a given at this point. Yeah, which means that we need writers and we need to be able to pay the publisher and the printer of the workbook. Yes, all of that takes money, obviously. And so that's kind of where we sit right now is is yeah. And I know I've had conversations with people where, you know, we have always and I'll give so much credit to you you are the r the budget guy for a lot of these productions and you spend countless hours prior to going trying to figure out how we can make every dollar stretch in this particular instance, there were so many unknowns. New countries that we've never been to renting gear in country, which we've never done actually hiring local crews to an extent that we've never done. And so you did your best. I think you made seven, eight, nine different versions of the budget. Like if this costs this, this is how much we need. And if this is all that we have, this is what we'll be able to do. Yeah. If we're, if the team is comfortable with only being paid this. Oh yeah, this is what we're asking for. And so full transparency, we did not pay our team even what we wanted to actually pay our team. But our team agreed to do it right and we were thankful for it. But the goal has always been to pay our team and everyone involved closer to. Industry rate industry standards. Right. And even still, even still with the number that we're shooting for, both in post-production and beyond, it's still nowhere near right. But we're trying to be more fair to our team. When we went, I will say, and I'm not ashamed to say out of Egypt was the only trip that we have ever come back. Not under budget. So following the CIA, searching for King trial and triumph, we always came back having stretched those dollars farther than we even thought. And then we came back with with some extra and out of Egypt. That was not the case. There were expenses that no one could have planned for. There were, um, there were, you know, situations where money was, was expected from certain individuals that was, was not in the budget. Yeah. You simply could not have expected that. It's right. And again, happy to share photos of the places that we stayed and the food that we ate. Good, hospitable people. But we stretched dollars because our team was not looking for comfort. Our team was not looking for five star hotels. You know, team was looking for a roof over our head, ideally some air conditioning and some power outlets to plug. In the plug in the gear. Right. And so the need is still there. The need is still there. Post-production can begin. And we are we're jumping into it. But the runway the runway is is still needs to be tackled. Yeah. And this is definitely not a fundraiser episode per se, but you know, we will continue to do what we can with what we have. Absolutely. Like, you know, we used the analogy before we left that the fundraiser in August that helped provide the funds for production was like the parting of the Red Sea. We were in this spot that was seemed like an impossible spot, raised $200,000 in a week. We've never raised that much money before. We've it's a short period of time. How are we gonna do this? It's only going to happen if God wants it to happen. And he parted the Red Sea for us. We were able to walk into Egypt and get what we needed, but now I was saying just this morning as we were getting made a record this that we're very much we're through the Red Sea, but it doesn't mean our faith has to stop like we we need to rely on God at every step in this process. And so where we are now is we're in our wilderness and we are going, okay, we are across the Red Sea, but now what? And we we look at we look at what we have available to us in our bank account and go, that's not going to get us all the way to the promised land. It's not going to get us all the way to the end of this project. But let's just keep working. It's enough for today. It's enough for today. Exactly. And just like God brought manna and it was like, hey, you get you what you need for today and don't worry about tomorrow. I'll take care of you tomorrow. And those that hoarded it it up, it spoiled. Yeah. And like so if we were to sit here and go, let's just circle the wagons for six months, not touch the project and wait for the bank account to grow. And then we'll get back to it. I think that would be a misuse of the money that people have donated to see this project happen. And and this is a misuse of the opportunity. Yeah. I mean, so many times along this process, you know, we are constantly in prayer. We are asking for God's guidance and direction and, you know, close this door, Lord. If you don't want us going through it, open this up or open another one if you want. And we believe that that this project needs to be made and we want to do it in a in a financially sound kind of way. We are not going to drain the bank account until, you know, and just trust the dollars are going to appear. Right. But we are we are going to demonstrate faith in God and say, you know what, we have enough for the work to go. We're going to be diligent with the resources that we have and we're going to trust God to to provide the means to do it. And again, you're right, this isn't a fundraising episode, but we believe in full transparency. Yeah. And we've already had donors who have been incredibly generous even while we were in country, asking us, how are things going? Are are there expenses you didn't anticipate? And we would honestly tell them, yes, yes. We just handed out 1500 dollars for a permit that we already purchased. Yeah. Because they're they're demanding more. We weren't expecting that. And so we're being real with people. And you better believe this team knows how to give and volunteer so much of this time. Yeah, our team is not charging for. I know. And even when we are, um, we're giving of our time and our talents as I think any Christian should in any circumstance. And, and we're willing to do that. We're thrilled to do that. Our goal really is I don't want this to take 12 months to edit. I want to get it out. And now I want to show my family and my church family. I want to show my friends. I want to show the people who donated This is what your money did. And I and I want that to be out as soon as possible. And so, you know, we are we are continuing to ask for support. We are continuing to to rely on people's generosity. And we are going to be completely open and honest with people if you want to see the receipts. Oh, absolutely. You're the guy. They might be in Arabic. But you know. That's right. Trust us. This was a drone flight. Um, yeah, a drone flight for. Do you might. Have a no. Yeah. $6,000 drone flight. 6004. And that was for like one day. Yeah. Even beyond that, that was it really. The drone was up maybe 2 hours, right day. So so clearly I'm in the wrong industry. I know. Over in Jordan flying drones. Right. That's, um. I will say, though, worth every penny. Yeah. Because the guy was, you know, amazing. Yeah. But those are expenses that if we had done it in a different country, if we had like with searching for a king brought in our own drone, but that's what it costs. So that's what we paid. We believed that it was valuable. You will that you will see none of this money has been. Oh, absolutely. Mishandled. Yeah. Um, well, it's just always encouraging to me to know that there are continue to be, there continues to be donors and people who follow AP and out there who are like, hey, what do you need? What do you need? And like, these are not conversations where we're going to them and saying, Here's what we need. They're coming to us. They're coming to you and me and Matt, who's had a ton of conversations with with people and they're saying, hey, we know that your back, we know that there are needs. What can I do to help? And so, like, I would tell people who are listening to this, you know, beyond if you have donated to this project or not, if you're listening to this and you know, other people who think, oh, man, I didn't get in in August and help support this, there's still time and there's still needs that can be supported. And so please connect with Craig or myself or Matt Modlin and and get us connect with those people or send them over to the website fundraiser, dot AP and media dot org where they can donate there. But yeah, just continue to let people know that there is continued needs. And until this project is, you know, out the door and live on whatever channel it's going to be live on, there's going to be continued needs, answers, so on that note, let's talk a little bit about what's next. Where is it going? Where is it going? Well, when it gets released, I was planning on a limited run of VHS tapes. I think that there probably is a market for that. I hear discs, I hear VHS is coming back. I hope your. Kid and it's expensive. Like if you want to buy a VHS movie, it's actually really expensive to watch them. Especially I will classic. I will say I finally gave away my VCR three or four years ago. Oh, wow. I kept hanging on to it because you just never know. That's right. You just never know. Yeah. Karen, my wife was very gracious and very patient, but she did point out, look, in the time that we've been married, have you ever played any of your VHS tapes? And that's that's a good point. No. So, no, I kid. I actually had to move, not. Be on. VHS as well. I'm beginning to wonder if it's going to be on DVD. I help somebody move this past weekend and their big DVD collector and big movie buff. And I kind of was poking fun at him. I said, you still have furniture for your DVDs. You know, he had a DVD rack and and I'm like, who has I have all of this stuff on my phone. And we kind of got a chuckle out of that. But I'm like, we still saw DVDs. In fact, here's a very shameless plug, if you want, following the Messiah on DVD, you better get it soon, because evidently Barry was saying, Who does our shipping for us? There's what, like 20 copies left? Less. Less than 20 copies. Believe that we're now somewhere over 15 or 16 copies. So when you purchase Following The Sire, which is our original series. Yeah. You'll get it. It's a two disc collection. It's ten episodes. Yeah. I mean, it's hours of content, it's mazing. Yeah. But we are now down to, you know, something like 14, 15 sets of those. You know, and I don't make the decisions, you. Know, in the comments and stuff, but like, but I. Don't know if. Be who's buy who's buying those. Hey, look, there are you know, we still have a DVD collection at home and there are some people out there that love their DVDs and they love it. It's almost like like a like a card collection or something like, hey, I have my DVDs and especially if you get into box sets, that can be really cool too. That's true, but I don't watch them on a regular basis. I did hear a great idea at one of the homeschool conventions we attended back earlier this year. One of the families said, you know, our minivan has a DVD player. Yeah, so we want to be able to watch this content. That's true. While we drive. Yeah. And I understand that more family vehicles probably have a DVD player than they do, you know, an iPad plug or something. Yeah, you can. But that's their home. That's whether this one will be released on DVD is yet to be determined. Yeah, I'm going to be interested, but it will be available for free. As with all of our other content, you're going to be able to see it on our YouTube channel, on our app, which if you haven't already downloaded just an episode full of shameless plugs, here it is. Reload that app, man. It's not only got all of our content, our video series, but it's got all of these podcasts, which everyone knows they want to just keep listening to our voices over and on replay. And it's got what we call our production journals. Yeah. So all the behind the scenes. So download that app, it's going to be made available on there as well as on our website. It's going to be available in numerous different places and we want people to enjoy that in a way that's that's easy for them. I'm starting to believe that DVD is no longer be coming easy for the common viewer. Yeah. And I'm thrilled to. Say you're not. You're not sad about that. Well, we may have put the cart before the horse a little bit, but talking about distribution. Because now they're like, okay, well, I should be able to see that on the app next Friday, next week. Well, we have a lot of post-production to do. And so we talk today about the first steps. But as we have said throughout this whole season of inroads, we're going to continue to update people on the process. Oh, yeah. And like, I'm excited about that. Even if it's conversations with us or whether it's pulling in other people from the team or whatever the case might be, we just want our our hardcore followers to be able to keep up with the process as we go through it, which means as we get into the post-production and the editing, more deep conversations with you, I'd like to honestly show screengrabs of what you're editing and working on and just really give people the behind the curtain view of what what it takes to put a project like this together. I'd be glad to share, man, because that I have already done that while you've been working on the on the transcripts and, you know, I couldn't help myself. Oh yeah. Going through the days. Yeah. And looking at the footage, I was only one shooter of this project. You've got Jett who shooting stuff and Nolan who shot some stuff and the drone pilot and GoPros that are constantly being recorded. And I haven't seen half of what was actually shot. And so I'm going through there and just so thankful and so impressed by the work that our team put out and to actually start putting those pieces together to make a cohesive scenes, it's going to be exciting. It's going to be really exciting and I'll be glad to share. Glad to share. Yeah. Well, thank you so much for joining us on this episode. And as we just mentioned throughout this season have been Rhodes will continue highlighting others that are using digital media to spread the good news of the gospel. And we'll pull back the curtain on out of Egypt and talk with various members of our own team as we develop fundraising and produce our most ambitious, challenging and rewarding project that we've ever done. That's next time on Inroads. Inroads, a production of AP Media. We're a nonprofit video production company that is 100% crowdfunded. If you're interested in learning more about how you can support AP media so we can continue to create more great free content, visit us at Appian Media dot org.