Sweat Equity

How Brands Can Speedrun Social Media in 2026

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Start with the signal

10 min read

Summary

At-a-Glance

  • Verdict: Watch fully
  • Core thesis: A brand can turn a short live activation into rapid social growth by designing the venue as repeatable content sets, staffing production stations with real-time editing, and combining planned modular formats with fast on-the-ground creative decisions.
  • Why it matters: This is a concrete operating playbook for converting expensive events, partnerships, and guest access into dozens of native social assets rather than a recap video and photo carousel.
  • Best use: Use it as an event-content production blueprint: pre-map sets and scalable formats, establish a shoot-to-edit war room, and assign a director to capitalize on guest and cultural moments in real time.

Executive Summary

The speakers use Malbon Home, a Masters-week brand activation, as a case study in building a social account from zero to 15,000 followers over roughly four days, with an estimated 5–10 million cumulative views. Their central argument is that event content should not be treated as documentation. Instead, an event should be designed and operated as a temporary content studio, where every physical area, activity, and notable guest can yield multiple deliberately packaged clips.

The planning system begins with a brand narrative and a map of “sets.” For Malbon, whose broader narrative is described as “making the green the common ground,” the activation-specific translation became “making the home the common space.” The team inventoried the house—entryway, tables, store, coffee bar, backyard, watch area, and more—and reverse-engineered repeatable concepts for each. This reframes an activation from producing two deliverables into producing 15+ assets over three days.

The most practical operating insight is the production architecture: dedicated stations, shooters assigned to each station, a director coordinating concepts and talent, and a dedicated editor receiving organized footage plus briefs in near real time. The claimed output speed depends less on cameras than on this workflow; the editor is positioned as the critical constraint, with a target turnaround of about one to 1.5 hours per edit.

The case also argues for a dual mode of execution. Planned formats such as “Letters From Augusta” create scalable volume, while the strongest top-of-funnel clips often emerge from improvisation when a guest, visual setting, or existing creator format presents itself. The speaker’s examples emphasize compressed seven-second stories, unusual in-frame actions, and content that makes viewers feel they attended the activation rather than merely see proof that it happened.

Key Takeaways

  • Claim: Treat an activation as a portfolio of content sets, not as one event that merits only a recap. | Evidence: The team mapped Malbon Home’s backyard tables, drinks area, plunge area, Garage Beer/cigar zone, kitchen, storefront, Nespresso bar, porch seating, bars, and entrance as potential filming sets. They argue that five usable sets across three days can create 15 pieces, versus the common outcome of a carousel and recap video. | Implication: For any sponsorship, pop-up, customer event, or conference presence, Ken should require a set inventory and per-set content concepts as part of activation planning—not leave content capture to a general photographer. | Caveat: More locations do not automatically create useful volume; each set needs a distinct concept, intended shot types, talent plan, and production owner before the event begins.
  • Claim: Scalable concepts outperform one-off productions in a live-event environment because they minimize setup friction and can generate many episodes quickly. | Evidence: The flagship example, “Letters From Augusta,” used a vintage green pay phone and a prompt asking visitors to call the person who introduced them to golf. Guests could record naturally or be asked for 20 seconds; the team says it captured 25 episodes in a day, including appearances from J.R. Smith and Victor Cruz. | Implication: Build formats around a simple repeatable participant action, then provision redundant props, backup equipment, and alternate setups before high-value guests arrive. | Caveat: A scalable format can fail operationally if its physical dependencies are not redundant: the phone arrived only on the final day, missing opportunities with Dwyane Wade and other guests. The team says it should have ordered three phones.
  • Claim: Production throughput requires stations and a real-time shoot-to-edit system, not merely more people filming. | Evidence: The proposed minimum structure is two videographers, a dedicated editor, and a director. Each shooter owns named stations and delivers categorized footage—for example, all “Letters From Augusta” footage versus lookbooks—while the editor has the concept briefs and turns work around in roughly one to 1.5 hours. | Implication: The operational bottleneck is asset organization and editing capacity. Ken should define file naming, station ownership, briefs, review authority, and live publishing permissions before attempting high-volume event content. | Caveat: The speaker presents this as a practical recipe but does not provide cost, staffing-hour, approvals, rights-clearance, or publishing-governance requirements.
  • Claim: The content mix should separate broad-reach entertainment from immersive experience content rather than force every post to sell product. | Evidence: Top-of-funnel content included emotionally resonant or culturally legible clips such as J.R. Smith’s phone message, while middle-of-funnel content mic’d up bird-watching, tai chi, cold plunges, run club, and Dwyane Wade golfing. The bird-watching clips reportedly totaled only 40,000–50,000 views, but commenters said they felt they had participated. | Implication: Define success metrics by content role: reach and new audience for top-of-funnel assets; affinity, comments, and perceived access for experiential assets; product-oriented formats such as lookbooks for commerce support. | Caveat: The distinction is strategic rather than a demonstrated attribution model; the transcript does not quantify whether immersive content drove conversion, retention, or sales.
  • Claim: Celebrity or creator access is most valuable when the team gives the guest a short, high-quality idea that makes the guest look good enough to collaborate on. | Evidence: The team obtained two minutes with golfer Charley Hull for a seven-second ashtray-giveaway clip built around a familiar smoking/quit narrative; it reportedly reached roughly 900,000 to 1 million views, above her recent clip range of 100,000–200,000. They also cite J.R. Smith’s collaboration as outperforming his recent posts, which they characterize as 20,000–30,000-view content. | Implication: Maintain a live guest-opportunity roster, but pre-clear categories, sponsor conflicts, likeness rights, and approval paths. The request to talent should be highly specific and low-friction—ideally 20 seconds to two minutes. | Caveat: The Charley Hull concept triggered a brand-safety and contractual issue because she had reportedly signed a seven-figure deal with nicotine-pouch brand On; the team needed retrospective confirmation that the “I’m done with this” bit was acceptable.
  • Claim: The best-performing live content often comes from structured improvisation: recognize a moment, then add visual action and story compression until it becomes feed-native. | Evidence: When Logic’s DJ Rhetoric appeared, the team adapted an existing successful one-shot format into a Malbon Home sequence of him walking to a mixer on the front steps and performing; the speaker estimates 500,000–700,000 views. A separate opening clip improved from a person merely entering the house to a sequence with a 9 a.m. cigar, background snacking, greetings, and a shoe-cleaning action, reportedly reaching about 200,000 views. | Implication: Use a planned content slate as a floor, not a script. Reserve staff bandwidth for real-time ideation and train the director to ask: what is already visually unusual, where does action begin, and what micro-story can resolve in under 10 seconds? | Caveat: Improvisation only works when a director has enough authority, time, production readiness, and judgment to avoid distracting or unsafe additions.
  • Claim: The case’s growth outcome came from coordinated volume, talent bridges, fast publishing, and event-specific concepts—not from blindly posting more. | Evidence: The speaker says Malbon Home reached 10,000 followers in three days and ended at 15,000 followers, with an estimated 5–10 million views across platforms. He also notes that he initially was not tracking TikTok closely and discovered additional reach through articles and shared TikTok screenshots, including roughly 600,000 views for a J.R. Smith asset across cited counts. | Implication: Use the numbers as directional evidence for the operating model, not as a guaranteed benchmark. Instrument follower source, per-format retention, collab lift, event-to-site conversion, and cost per produced asset on future activations. | Caveat: These performance figures are self-reported and lack baseline audience data, paid-versus-organic breakdowns, engagement rates, conversion data, or independent verification.

Detailed Brief

Creative design rules behind the examples

  • Claims: A physical set can support multiple hook variants even when the core message is identical; the speaker calls this modular content.; The proposed test for a concept is whether it can be executed repeatedly with minimal friction, rather than whether it is a highly produced single idea.; Short-form performance is framed as the result of layered visual questions and compressed narrative: movement, an odd object or action, implied conflict, and a quick resolution.
  • Evidence: For the Nespresso area, the speakers suggest alternate hooks including ASMR coffee pouring or inserting a coffee pod, even if the broad message remains that the activation has good coffee.; The store was used for both split-screen lookbooks with wide and macro garment-detail shots and a mic’d-up employee character whose quick one-liners made the retail space feel like an experience.; The Hull clip was designed as a seven-second beginning-middle-end: implied final puff, “I’m done with this,” placing the item down, then signing the giveaway object.
  • Caveats: The speakers emphasize view outcomes but offer little guidance on creative fatigue, audience segmentation, or how many variants can be published before quality and brand coherence decline.; Some concepts rely on familiar public personas and context that may not translate to brands without celebrity access or a culturally charged event.
  • Implications: Create a pre-event hook matrix per set: visual opening, participant action, talent type, story beat, and number of variants available.; Favor concepts that work with both invited talent and ordinary attendees so the content engine does not depend entirely on celebrity schedules.

Brand and event context

  • Claims: The team intentionally preserved Masters-adjacent tradition and restraint instead of pursuing a noisier celebrity-party aesthetic.; Their stated goal was to make Malbon feel accessible and inclusive through firsthand moments, consistent with the brand narrative rather than merely signal prestige.; They identify giveaways as an additional growth mechanism, though the transcript does not detail the mechanics or results.
  • Evidence: The speakers contrast Malbon Home with what they describe as negative social feedback to the Masters’ celebrity-heavy atmosphere, saying Malbon retained a quieter, classic, and respectful environment.; “Letters From Augusta” borrowed the tournament’s no-phone/pay-phone tradition and reinterpreted it as an emotional social prompt rather than simply filming celebrities.; The activation used golf-specific details—such as cleaning shoes before entering the home—to make otherwise simple clips feel rooted in the setting.
  • Caveats: The tournament commentary and claimed public sentiment are anecdotal.; Borrowing traditions associated with a major event may entail trademark, venue, sponsorship, or cultural-sensitivity constraints that are not addressed.
  • Implications: For premium or heritage contexts, prioritize a distinctive event-native ritual over generic trend participation; it can provide both authenticity and a repeatable participation prompt.; Before borrowing event symbolism, establish what can legally and reputationally be referenced, depicted, or named.

Notable Concepts & Terms

  • Content narrative: The brand-level premise that guides which concepts belong together; Malbon’s broader narrative was described as making golf more inclusive, translated for the house into “making the home the common space.”
  • Thinking in sets: Treating each usable physical location in an activation as a repeatable content environment with its own formats, shot plan, and output target.
  • Modular content: Producing multiple hook and visual variants from the same set or message to increase volume without needing entirely new ideas.
  • Scalability: A concept’s ability to generate many episodes quickly with low setup friction, especially when participant time is scarce.
  • Production stations: Named, owned shooting zones and concepts assigned to specific creators so capture, asset labeling, and editing handoffs remain organized.
  • War room: The live operational loop where footage, briefs, edits, decisions, and publishing are coordinated fast enough to release event content while the moment is current.
  • Top-of-funnel versus middle-of-funnel event content: Top-of-funnel clips seek broad entertainment reach; middle-of-funnel clips make the audience feel present and deepen affinity, even if their raw views are lower.
  • Bridges: The speaker’s term for celebrity, creator, and collaborator relationships that extend distribution into adjacent audiences when content is worthwhile for the guest to share.

Operator Notes / Why Ken Should Care

  • For the next event or activation, require a pre-production packet containing: venue/set map, per-set format inventory, prop dependencies with backups, shot list, talent opportunity list, and escalation contacts for approvals.
  • Set up an explicit live-content control plane: station owner, ingest folder/schema, concept ID in every asset name, editor queue, decision-maker for rapid approvals, and a publishing SLA.
  • Add a compliance checkpoint before filming talent: brand deals, prohibited categories, likeness releases, sponsorship conflicts, and whether the intended joke or narrative is approved in writing.
  • Measure the claimed playbook rather than copying it on faith: track output per station, editing latency, retention by hook type, collaboration lift, follows per 1,000 views, and conversion or qualified audience actions.
  • Reserve an on-site rapid-ideation block and assign one empowered creative director; do not schedule the team so tightly against the planned shot list that emerging guest opportunities cannot be developed.

Source/Metadata

  • Title: How Brands Can Speedrun Social Media in 2026
  • Transcript words: 12909
  • Duration seconds: 2361
  • Timestamp note: No usable timestamps or chapter markers were present in the supplied transcript. The transcript contains substantial duplicated passages, but the substantive case study is still clear.
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Full transcript 8242 words · 57 min read
0:01

Hey Steve, we're here. This is the Malvin home. You probably saw it on social, but did you know the full growth story behind it and how we got it from zero to 15,000 followers in four days? That's exactly what we're going to walk through in this episode: how we think about concepts, how we think about this idea of thinking in sets. What is the actual team that you need to be able to create a bunch of content at scale? I'm talking 30, 40, 50 pieces of content in just a few days. All things that we're going to dive into in this episode.

0:16

Long story short, one of our friends over at Malvin was like, “Hey, we need social support for Malvin home. Are y'all interested at the Masters?” We ain't going to say no to that. No. You're pulling up to the Masters. Yeah. We're pulling up to the Masters, hands down.

0:31

But the thing was, he sent us that email like two weeks before the Masters. Of course. Yeah. It's always like that. But he's always good about timing and everything, but it was just like, “Hey, we have this big moment. This could be huge for us.” Cool. We get on a call, and we start chopping through, like, okay, what are the goals? What is it kind of like? What are the opportunities? We start thinking about all of that. Cool. The first thing I thought about was, well, we have Malvin Buckets Club page, which is like a tournament that they're putting on. They do a competition every single month at different courses all around the US.

0:51

We have that as a completely separate page. You're still going to be able to experience Malvin home through the content because we're going to put out a ton of content, but at the same time, the type of content that we're going to put out is not just going to be recap content. We're going to think about this content very strategically so it feels like the people are there and can experience it. I'm so glad you said that because the biggest observation I had was it felt like I was there. It felt like I was getting every single micro moment that was going on at the house was covered.

1:03

And there's a lot of value in reverse engineering from the itinerary for your content, right? Starting with, like, okay, what do we want to document? It's like, we have this dinner. Okay, that's a piece of content. Kind of matching those things up in a way that I don't think a lot of people really... It may sound super simple, but in practice it's very hard to execute because you have to be very prepared with the packaging of the dinner. What are the shot types for the dinner? Who you want to make sure you're capturing, right? The reality is the majority of brands will host an activation and walk away from that activation with a carousel of photos and a recap video.

1:21

Yeah, they have one photographer on set and then maybe a guy shooting, and they'll spend all this money on the activation and put out two pieces of content. It's such a miss when you think about all the opportunities that can come from that content, which is what I'm going to essentially break down. So the first thing, though, is with Malvin home, the eyes around the Masters, and the brand equity that Malvin already has, I wanted to go into it with, okay, what is a huge goal that we could, like, an outlandish goal that we can create or that we can have and aim to hit the entire time?

1:45

And so what I told the team was, “I want to go zero to 10k in four days,” and can we make that happen? Okay, I'll give updates as I go, but to be able to go zero to 10k in four days, you have to have a plan. You're not going into that just being like, “We're going to publish everything and anything,” and you're not truly thinking through the content strategy. So the first thing that I thought about was, okay, I know I always talk about this, but it's the content narrative. Now let me give the reason for it in this scenario. Malvin's content narrative is making the green the common ground, right?

2:17

Their whole narrative as a brand is to help more people that probably wouldn't have played golf play golf and feel like when they play golf, they're included in it. That it's more inclusive. Now for Malvin home, because it's more temporary and there is no greens, the idea was making the home the common space. Okay, how can we create that same inclusivity? Started conceptualizing, we had to think in sets. So you look at the Malvin home when you walk into the Malvin home. Depending on what entrance you come through, but let's say you come through the backyard. There's two gates. Come through the backyard.

2:58

We now had to look at all of the different areas within the Malvin home as what has the ability to be a set where we can create ideas. Okay, so you walk in, and there was a bunch of table sets, right? That gave us the ability to do anything mic'd up in that area, almost like classic '80s, long, almost like backyard sets. There was four or five of them. Then there was a drinks table with Tito's. There was an ice plunge area and almost like a warm tub as well. As you're walking up the steps, there's, I forget what Travis Kelce's brand is, but Garage Beer. Did you know he owned a beer company? No. Yeah, I learned that there too.

3:49

I kind of dropped off. I feel like him and his brother... now I just don't trust it after the Masters jumping in the water and all that. Yeah, I don't know. Before we get into the meat of the value of this episode and I break down everything that we did to help Malvin home get to 15,000 followers, please subscribe. Me and Brian have a huge and audacious crazy goal of trying to get to 100,000 subscribers by the end of the year. We're far from it. In all reality, we're far from it.

4:33

So if you're right here, you hitting subscribe and adding a plus one to this goal is actually huge for us. As you could tell, we're in New York right now doing a bunch of guest episodes, trying to up the production quality, the clips, all of it, just so that we can make this a better show for you. So please subscribe. It was kind of funny. To that point, I think one thing that Malvin did in a really excellent way was respect tradition. And that's kudos to you guys. You kept a lot of the prestige. You kept a lot of the association that the Masters has as this very quiet, respectful, but classy environment where people are having fun.

5:24

Meanwhile, the Masters themselves let a lot of riffraff into this year's tournament. There was a lot of different things that got really negative feedback on social. People were comparing it to Coachella. Yeah. It's like, why do you have Kevin Hart running around, like, shanking golf shots on Augusta? It used to be something where if you were Kevin Hart, you also had to have difficulty to get a ticket. Ten years ago, even, it was difficult for celebrities. That was a thing that the Masters long term had, was no matter who you are, you got to go through the same raffle process. You face the same consequences if you use someone else's ticket.

6:16

And this year, they tried to gamify it. It felt like the freaking Pro Bowl on ESPN. It was like, what are we doing? Meanwhile, Malvin home was very refreshing. We wanted to keep the tradition. Yeah, with all of it. So again, thinking through sets, it was like when you walk up the steps, Travis Kelce, Jason Kelce's Garage Beer brand, but there was custom cigars. Cool. All those different areas could be a set if we could think about a good concept that basically hits our check marks. You walk in, there was a kitchen. There was a chef always there. There was always food there. There was a watch area. Then you continue to walk in.

7:29

There was a storefront, and then to the left of it Nespresso had a are you got to go through the same raffle process. You face the same consequences if you use someone else's ticket. And this year, they tried to gamify it. It felt like the freaking Pro Bowl on ESPN. It was like, what are we doing? Meanwhile, Malvin Home was very refreshing. We wanted to keep the tradition with all of it.

7:40

So again, thinking through sets, it was like when you walk up the steps, Travis Kelce, Jason Kelce's Garage Beer brand, but there was custom cigars. Cool. All those different areas could be a set if we could think about a good concept that hits our check marks. You walk in, there was a kitchen. There was a chef always there. There was always food there. There was a watch area. Then you continue to walk in, there was a storefront, and then to the left of it, Nespresso had a little bar area or coffee area. Then through there, there was another seated area, almost like front porch seating, and then two bar areas, and then a really long pathway for the entrance.

7:47

Okay, now what I mean by thinking sets is we can look at all of these different locations and these central spots and be like, can we build a concept here? Can we think about it no different than this, right? This is a set. Can we look at this and be like, what can we do here? What concepts can we come up with that allow us to say every day we're going to do something here, every day we're maybe going to film two episodes here? So that was the first part. Okay, we're going to get a blueprint of the house. We're going to know exactly what we can look at, operate with, and then reverse engineer the concepts from there. That's key.

7:52

Especially when you're thinking about an event and looking at all the different scenarios that you could have, if you have a big activation or if you're at an event and you're just one of the sponsors, you could look at all the different areas that you can create content. That changes your whole idea of we need to leave with two pieces of content. We could leave with 15, because if you think about it through the three-day cycle, or three days, and you're like, okay, five sets that I can roll with, I could just make a piece of content in each one every single day. At the end of it, I have 15 pieces of content generating maybe hundreds of thousands or millions of views versus 10 from your carousel and your recap video.

7:58

All right, so over the last two years of building Nibbles, shipping nearly 8,000 UGC ads, and getting performance data on every single one of them, it became super clear there are two types of brands: those that understand creative volume and those that don't. The core difference was what they focused on. Brands that focused on volume plus hit rate were never complaining that Meta changed the algorithm. Their stuff just worked. And anytime we did work with one of those savvy brands, it was always on the same platform, Motion. Motion is by far the best tool to optimize your creative pipeline, provide structure, visibility, and insights that your creative team needs to make better decisions. I like to think of it as what Meta would actually show you if they cared about your success. All the key metrics, like three-second stop rate, winning angles, formats, competitor research, it's all built into their platform so you can make quicker and better decisions. They even just launched a new AI agent, Runneth, which functions as a 24/7 creative strategist, providing recommendations to your ad account. Y'all make sure to go check them out at motionapp.com.

8:03

All right, let's get back to the episode. I think modular content is something people also need to really internalize. And when I say modular, it's like you just described it, where, okay, I have a set, and maybe it's the Nespresso set. So I can now think, my set is the overall concept, and what are the five different hooks that I can do with that set? Even though maybe the entire narrative of the video is the same, or it's like, yo, we had good coffee at Melbourne. It's that simple. But you can have an ASMR pouring of the coffee. You could have someone putting it in. There's so many different visual hooks that can get you to the volume that you need. And I think people need to understand there is no success without volume. You're simply not posting enough, no matter who you are.

8:08

Have you noticed that while I've been here in New York, I've been posting nearly three times a day? Yeah, I keep getting tagged in these things. Oh, that's true. You're welcome. You're welcome. Thank you, bro. No, I heard that. No, Johnny's been good. We've had some photographer issues in a different way. No, you're doing well, bro. I need this coffee in a minute, though. He's over there working on the damn mic with you. You can't even see the coffee in the wide angle because it's around seven feet that way.

8:42

But I just want to make sure. So the third thing that you need to think about is you need to conceptualize with the idea of scalability. What I mean by that is when we think about concepts, you don't want to think about a concept that you could only execute once, because typically a concept that you can only execute once means it takes a long time to be able to produce it, right? Yeah. Right. And especially in an event scenario where everything is very run and gun, and even if you have the ability to set things up, it's still a little bit more run and gun in nature, you want to really think about things that you can set up, execute, and get a lot of.

8:57

An example is, I'll give a few examples. When we thought about the store, we thought about it through the lens of two things: lookbooks, because it was a very nice store, and so we wanted to do these split screens of people that were wearing the Malbin fits in the Malbin collection. They're in the corner, and we almost do a lookbook split screen where it's wide angle and then macro shots of the details. Cool. That was going to be more of the bottom-of-funnel content, more so selling it and highlighting the collection.

9:01

The second thing was there's one guy on the Malbin team who's an absolute character, absolute, absolute character. And he was basically checking everybody out at the store, so we mic'd him up. And the whole goal of it was for it to not feel like a store but, again, feel like an experience, because he made it an experience. Right? Yes, the store was awesome. They had birds, or they had all these fake birds and binoculars and all these other details, but he's almost what made the set the set, because he was going in there, and I could have a video play, but the dude, he just thinks so fast on his feet, and he's just saying things from one-liners. He's saying the most ridiculous things, and it was perfect. And it wasn't content that we wanted to get 100,000 views. Awesome if it did, but it was content that was like after we had our top-of-funnel content bring you in, this is the content that made you laugh, made you feel like you experienced it.

9:06

So when we think about the idea of conceptualizing with scalability, if we follow him around for an hour or two hours in the home, it's like, yo, we have five videos probably, 10 videos probably. So that was one. The lookbooks was another.

9:13

Then when we thought about, I think our hit idea was Letters From Augusta, which was if you know about the traditions of the Masters, you can't bring your phone in there. And so therefore they have pay phones that allow you to call back home or call whoever you want and just give them updates. So we took that tradition and we put a spin on it. At the beginning, there's, again, us thinking in sets and scalability, where we bought a pay phone off Etsy, old classic phone, forest green. We brought it to the house, and we set it up right at the entrance with a note on it, basically a prompt that's like, call whoever introduced you to golf and leave them a voicemail.

9:18

Okay, we put that at the front of the house, so as soon as people walked in they were hit with this prompt. And then we had Randy, if we look at the home, right, a long hallway like this, or not hallway, but just a long walkway. Home was here, steps were right here. We put the pay phone, or the phone, right here. Randy was basically hidden in the bushes here, and we had some elements that also made it feel like the camera was hidden. We put the bushes in the foreground of the frame so it felt like they weren't, you know, like it was almost a little bit secretive and they didn't know we were here.

9:23

Okay, there were two parts of it. Anybody that was probably intrigued by it and saw the prompt hit it, we were recording. We just had Randy literally pressing the button: press record, stop, record, stop. Oh, so you weren't soliciting people. They were doing it naturally. That was part one. Part two was, yo, JR Smith's here. Yeah, JR, can you leave a message? And he picks it up, he goes, Moses Malone, and we're like, this is viral. That's crazy. long walkway home was here. Steps were right here. We put the pay phone, or the phone, right here.

9:41

Randy was hidden in the bushes here, and we had some elements that also made it feel like the camera was hidden. We put the bushes in the foreground of the frame, so it felt like they didn't know we were here. Okay, there were two parts of it. Anybody that was probably intrigued by it and saw the prompt, hit it. We were recording. We had Randy literally pressing the button: press record, stop record, stop. Oh, so you weren't soliciting people. They were doing it naturally. That was part one. Yeah.

10:02

Part two was, yo, JR Smith's here. Yeah, JR, can you leave a message? Right, and he picks it up, he goes, Moses Malone. And we're like, this is viral. That's crazy. He picks up, it goes Moses Malone, and I was like, this is wild. That gave us, dude, we filmed, at the end of the day, we had 25 episodes. Yeah, 25. The editor was texting it, or I won't say editor, Nick was texting us, and it was like, yo, I'm done for the night. I'm cooked with these. I'm 25 in, and just sends them all. I was like, dude went absolutely crazy on all of them. When did he send that? That was one or two in the morning. Yeah, that's crazy. In the morning.

10:33

I mean, talk about the quick turnarounds too, right? I'm going to get there. On the team side of it, I feel like that's something that is really difficult to execute, and your process is probably going to be super valuable for people to think about.

10:37

We're halfway through the playbook. If you want this full playbook, I actually wrote it all down. I put it into an entire case study and essentially newsletter that you can download, a full playbook that you can copy, with more lessons, more frameworks that you can use to be able to do this, not just at any event or activation, but overall with your entire content strategy. If you want it, it's in the link in the description. You can download it. It's yours.

10:41

So I'll finish the scalability part, where for that, you really just need to be able to think in something that gives you the ability to do a lot of it very fast, and there is minimum friction. We set that up, and the nature of it allowed a lot of people to do it without a lot of time being needed. Victor Cruz comes in. Victor, we need 20 seconds. Great golfer, great golfer. We need 20 seconds.

10:46

The miss was, and this is if we want to talk about L's, we should have ordered three phones just so that we could have had it. We didn't get the phone. It didn't arrive until the last day. So we had JR, we had Victor, but the days before, we had Durrell Wright, we had Dwyane Wade, right? We had all of these people that we could have then... The D-Wade one would have gone crazy. That was the day we had the dinner, so it's like we had all the superstars there at the dinner that we could have done it with. So that was the miss, but you live and you learn. We should have got more phones. There'll be a Masters next year.

11:14

Yeah, the US Open, we're going to the US Open, but that concept at the US Open doesn't make sense. You know what I mean? Yeah, so we have to figure out a completely different concept. Another concept that hasn't gone out yet was we did a, and this one was funny, we did how to dress for the Masters with Schoolboy Q, because he was there the entire time. You can rock a bucket hat at the Masters, right? Yeah, yeah, yeah. At the tourney?

11:52

No, I don't know if you could rock it at a tournament. It seems like a no. I don't know, but Schoolboy did this whole... that was another one that we thought of. We used the whole store as a set. It's like, how to dress for the Masters with Schoolboy Q. He opened up the first line, he's like, what's up bitches, and he just goes right into it. It was phenomenal because he's a character, absolute character.

11:59

All right, the fourth thing that you need to think about is executing stations. You're doing all this, and just think about it all through the lens of stations, right? Randy, you got station one. Station one is Letters from Augusta. Val, McCoy, you have station two and three. Station two is going to be look books and Mike, miking up the store team. Cool, that is station number two. Station number three is going to be in the backyard, and we're going to be doing... we had all sorts of different concepts we were trying out in the backyard, but that is station three. You're going to execute all of those. Cool.

12:04

That gives you the ability to shoot and drop, and then also organize based on what was shot by who, which is also a huge part of the entire thing. If we're all dumping random footage and I can't tell you everything I captured, when we're talking about speed at something like this, it is so much harder to execute if it's not organized. But if Randy comes in and drops everything and is like, yo, this is all Letters from Augusta, Val comes in and goes, this is all look books, and this, this, this, and they organize it, categorize it, then on the timeline it's 10 times easier to be able to edit and get those things out the door.

12:09

So executing the stations is not only from an efficiency standpoint, from the actual production, but it's also huge from the organization point for the editors that are going to be working on the footage.

12:15

The fifth thing is collab when you can. Anytime, typically with at least the brands that you and I have worked with, there are going to be celebrities or influencers coming through. Be very aware of who they are, and when something comes up, push to have it done. You know what I mean? Charlie Hall was there, and we didn't have content originally mapped out with her. As soon as we saw her and we were like, hey, she's here for 20 minutes doing a signing, we're like, can we get her for two minutes, right? D-Wade was there. Cool, what can we do with D-Wade? Victor Cruz is there. Cool, what can we do with them?

12:20

So you have to be able to think on your feet, or also think about how you could just leverage them to get them in your content, because if the content is good enough, they'll collab with it, right? JR hasn't collabed on anything. This was his best piece of content in the last two or three months, right, because it was an awesome piece of content for him. At the same time, you have to just be able to have that person that can go and be like, JR, you mind doing this for 20 seconds? Chances are they're going to say yes.

12:26

So think about that, especially when you're trying to grow as fast as possible, as just bridges. How many bridges can I build? The more bridges I can build into my ecosystem, the chances are I'm going to be able to succeed a lot faster. I think you made a good point too. It's something that we think about with guests, right? It's like, how do we get a bigger guest? It's by set design, a fire clip. It's basically like, how do you make the guest look good? That's why a lot of the central philosophy today didn't happen.

12:34

Yeah, low-key, it was like the person that was doing the scheduling was just like, we just want to use a boring set. He was like, yeah, let's just do this pod set. I'm like, no, this is not us. Something out of the box. Yeah, yeah, that's... I don't want to roll that way. Yeah. If you've seen Hormozi on that set, we can't be there. It literally has a picture of Hormozi in it. I knew exactly which one it was. Yeah, bro, because I've almost got booking that.

13:06

Production quality, I mean, especially in today's day and age, you have to really differentiate yourself on the feed. I think people are starting to get a little numb to similar backgrounds. You don't want to blend in with slop in any way.

13:12

So going into the last few, the other thing you need to think about if you are trying to grow, if you're trying to leverage an event to grow top of funnel, middle of funnel. The top of funnel content was what has the ability to cast the widest net and really has the ability to get eyeballs from the Masters on us, okay? Which is really pure entertainment value. Anyone associated with golf, but I mean that J.R. Smith thing, some of those Letters from Augusta, that could just touch someone who had a bond with their parents about sports. But there's people crying, there's people in the comments. So it's inherently a very large TAM that you can go after, extremely large TAM.

13:18

Now the middle of funnel content in this case isn't about product. It's not about the brand, as in trying to teach somebody about the brand. It was all about, can we make you feel as if you were there without being there? It was, hey, the Malbon is doing bird watching. We're going to send somebody

13:25

funnel the top of funnel content was what has the ability to cast the widest net and really has the ability to get eyeballs from the Masters on us, okay, which is really pure entertainment value. Anyone associated with golf, but that J.R. Smith thing, I'm sure some of those letters from Augusta could just touch someone who had a bond with their parents about sports. Yeah, but there's people crying, there's people in the comments just being, so it's inherently a very large TAM that you can go after with extremely large TAM.

13:29

Now the middle of funnel content in this case isn't about product. It's not about the brand as in trying to teach somebody about the brand. It was all about, can we make you feel as if you were there without being there? It was, hey, the Malbin is doing bird watching. We're going to send somebody out. We're going to mic up the guy who is teaching the bird watching. We're going to mic up the people that are there and make you feel like you got to go bird watching with us. We had three videos go out for bird watching, probably got cumulative 40,000, 50,000 views across all of them, fine. The people were in the comments being like, yo, this is the dopest thing. This guy's hilarious. He's a character. They felt as if they were bird watching. We had tai chi. We made them feel as if they were doing tai chi with us. We had cold plunges, made them feel as if they were doing cold plunges with us. Run club, same thing. It wasn't just recap of the thing. It was moments within the event or the activation or the scenario that you would have only seen if you were there, right? Hearing one of the clips, I don't remember the name of the bird, but a noise goes by and the guy goes, you hear that long long feathers cock is banning it, just says some crazy shit, yeah, right?

13:34

Now y'all already know we are super skeptical on this show about most AI tools promising the world. They have flashy demos, huge promises, and ultimately under deliver. But I do have to tell you about one that has blown me away and saved my team countless hours of time, and that's Richpanel. Imagine a 24/7 customer support engine that handles all of your tickets seamlessly, escalates anything requiring human intervention, and here's the best part: upsells your customers in the process. Their onboarding process is frankly one of the craziest things I've ever seen. You input your brand, and within 15 minutes it has full context on the latest drops, product information, and plugs into all of your apps. That's not even to mention the cost savings. They're three times more affordable than their competitors. I couldn't recommend this enough, so if you're a brand looking to turn support into an asset, go check out richpanel.com and tell them we sent you.

13:40

And then he points to somebody else, he's like, what is it? And the guy's like, a crackle, and he's like, there we go. And then he starts off the clip, he's like, forget everything you thought you knew about birds. It's like, dude, the dude was such a character. But again, it made you feel like you were there. Even some of the golfing stuff that we did with D. Wade, it was made to feel like you were there golfing with him, him talking, him not hitting it well, and complaining, whatnot. It wasn't supposed to just make the brand feel cool. It was, again, made to make the brand feel accessible, which was huge.

13:47

Now the last thing is don't follow all the above when creativity strikes. Throw all that out the window when you have a good idea or a moment where you're like, ditch everything, we need to be creative right now, and I'll give you scenarios. Logic's creator, Logic's DJ was there, which is, his name is Rhetoric. Logic, the rapper. I don't want to die. Yes, I don't want to, yeah. How's he doing? No idea. Did he make it past that phase? He made it past. I was worried about bro for a second.

13:51

So Logic's DJ was there. His name is Rhetoric. Rhetoric had a little space in the corner where he's just doing tunes the entire time. I go on Rhetoric's page and I see that he had this copy on a one-shot video that he did where it was like, imagine driving down something lane listening to this before the Masters, right? Something along those lines. I see him and I knew he was setting up, and so there was a little bit of time before he was fully set up. I'm like, yo, can we do this shot where we're going to have your DJ step on the steps? Because this was day one, so we wanted to almost introduce it as we're kicking off Mobbin Home. And so I was like, can we do something where, well first, is this portable? Yes. Cool. Can we do something where your DJ set, your mixer, is on the steps at the beginning, we're going to be across the street, and you're going to walk from where you would be to the front of the house outside, sit down, get your mixer, and start playing, and then do the same beat, and we're basically going to recreate your video that just went viral, yeah, but with a little bit of Mobbin Home twist, right?

13:56

So we're across the street. The way we can see is we can almost shoot through the gate and the door, door, so as he's walking we're doing a soft zoom, soft zoom. He comes in frame, sits down, starts doing his beat, and he's just sitting on the steps DJing, right? And the aesthetic is the Mob at Home. It's beautiful, okay? And so we do it, we rip that. That video gets five to maybe seven hundred thousand views, in that ballpark, right? Absolutely rips.

14:01

But there's nuances that we got to talk about. So the first thing is the aesthetic is beautiful. The Mob at Home is beautiful. Two, we start in action where he's already walking towards the camera, right? And then the idea of picking up a mixer on steps is a little odd, weird, right? And then he starts DJing on just steps, right? And so all of these elements played into the idea that that was one of our top of funnel ideas. But again, that wasn't something we could have planned. You had to know. We didn't know Rhetoric was going to be there. Cool, Rhetoric was there. We thought about where it could be shot, how we're going to put people in a frame, the actions. Cool, that was one.

14:06

Before that, 20 minutes before that, again talking about speed, Steven wasn't busy, right? And so I was like, Steven, let us use you for one shot. And so we wanted to kick off day one of Malbin Home. This video, I think, got 200,000 views. And the idea started as same spot that we shot for Rhetoric, Steven's just going to walk into frame, walk through the gate, and walk into the house, just to be like we're kicking things off. That's level one. How do we take this up to level three of creativity? Cool. Hey Mike, can you go get a cigar and sit on the steps right in front of the gate and smoke a cigar at 9:00 a.m., right, and have a bunch of smoke in there? Cool. Mike, you do that. Then there's this other guy, Johnny, what was his name, Mort, Mr. Mort, yeah, this guy Mort is this fanatic Masters guy, big following. Yo, can you be, as soon as he walks through the gate, can you just be snacking, right? And as soon as you're introducing action, yeah, kind of Easter eggs in the background, yeah, yeah, exactly, and it makes it feel like a live environment, exactly.

14:11

So he's over there doing, he's over there eating something, just throwing down some food. Cool. Steven, as soon as you want, you're going to start right here, you're going to walk right into frame. As soon as you walk in frame, just walk by Mike, dap him up, don't even pay attention, just smooth dap him up, keep walking through, see Mort, dap him up, walk through. As soon as you get into the house, clean your feet because of golf and keep it moving, right?

14:18

So Steven's a character too, bro, because love Steven, even if he's not really doing something, he's like, I'm busy, I got stuff to do. And he looks at Randy, he's like, you locked in? All right, camera locked, we're rolling, and just goes. Yeah, bro, hits the one thing and just kept it going. Didn't even see if it was good. He didn't even look back. He just kept it. If you watch the clip, he walks through all the way through the house and just never came back, right? So, I mean, he built the brand on aura. 100. He just built it on having some aura. Dude's a character, yeah. Funny stories I could tell in a second, but walks in, or we hit frame, dap punch, clean feet, rolls through. That was the clip, right?

14:25

If we would have done level one, hey Steven, can you just walk in, boring. But a guy smoking a cigar at 9:00 a.m. and then somebody just snacking, it adds these layers where it's like, why is that guy smoking? Okay, I got you for three seconds. Why is that guy just snacking? Got you for another three seconds. Steven cleans his feet, what the hell? It gives all these elements that just compound. Then the last one, and that one got, I think, I'd have to look, but I think 200,000. way through the house and just never came back, right? So, he built the brand on aura.

14:37

100. He just built it on having some aura. Dude's a character. Funny stories I could tell in a second, but he walks in, or we hit frame, that punch, clean feet, rolls through. That was the clip, right? If we would have done level one, "Hey, Steven, can you just walk in?" Boring. But I'm smoking a cigar at 9:00 a.m., and then somebody is snacking. It adds these layers where it's like, why is that guy smoking? Okay, I got you for three seconds. Why is that guy snacking? Got you for another three seconds. Steven cleans his feet. What the hell? It gives all these elements that just compound. Then the last one, and that one got, I think, I'd have to look, but I think 200,000 views. The next one, I think this one got a million, was Charlie Hall was there. Do you know who that is? Golfer. She's number four in PGA Tour, or I don't know. She's an absolute dog, right? She just signed a deal with On, I think it is, like the pouches.

14:42

Oh yeah, yeah, like the nicotine pouches. But they were doing an ashtray giveaway. I don't know if you saw them all. An ashtray, it goes crazy. They were doing an ashtray giveaway where she was signing it, and we were going to give it away. That was another thing. Giveaways were part of the growth process as well. I have to have that mechanism.

14:49

Yeah, and so for Charlie, we were like, "Hey, can we get Charlie for two minutes?" And Connor was like, "Yeah, we can have her for two minutes, but she needs to be able to sit down, do the idea, and be gone." So I was like, cool. And he was like, "Well, we can't do anything with smoking because she's trying to stop smoking. She just signed a deal with On." On trying to, what was she smoking before? She was just smoking. Smoking Heets, I think? Yeah, supposedly. She's just a person. She'd be on French golf, I think so.

15:06

Yeah, I think she's on the golf course just smoking cigs, bro. And so what we had her do was, "Look, Charlie, you're going to be sitting down. Your Malbon Home is going to be in the background. We're going to shoot this way. We're going to have the umbrella in frame so it's a vibe, like you would be smoking a cigar, and you're going to basically take it out of your mouth as if you just took your last puff." And she takes it out, she looks, and she goes, "I'm done with this," and puts it down and signs the thing and pushes it away, like she's done with it, right? Bro, first off, we're lucky we got it off. Her agent came in as soon as we finished filming and was like, and blocked cameras. I was like, "What are you doing?" And then she looked at us like, "What is this for?" And we're like, "For Malbon." She's like, "She can't be smoking. She just signed a seven-figure deal with On." And we're like, "No, it's part of the bit." So we had to go to On and be like, "Hey, are you okay with this?" And they were like, "Yes," because it says, "I'm done with this," right? But that was just an idea of what's her story, how can we leverage this, and what can we do that's not just a photo of the ashtray?

15:11

That video, it's easy to see. You get the collab post with her as well. So it's easy to see, okay, she has 800,000 followers. Of course it's going to go viral. All her clips before that got 100,000 views, maybe at top, like 200,000 views, for weeks. This one's at probably 900,000 to a million views, if not more by now, right? And so it's this seven-second moment that has the ability to, people know her as a smoker, they know she's trying to quit, we just told this micro story, and we added in all these different actions that keep you pressed on the video. It's all about compressing a story. You set up conflict, resolution. You really are able to tell a lot in seven seconds, even though a lot of people just get overly winded.

15:18

And the last thing I'll say is, from a team perspective, how do you execute this, depending on everybody's budget and everybody's team? It's a bit different. But if you have two videographers, awesome, right? That gives you the ability to do a lot. But you need a dedicated editor. That is the key element here. You have to have a war room where you drop footage. They know the concepts, they know exactly what they need to edit, and you drop it to them and they're able to get that edit out in basically like an hour, hour and a half. Okay, so we had that.

15:33

And you have the briefs there. They know the briefs. Now, the other thing that you need is a director, essentially somebody that is going around and checking all the boxes of, cool, that frame's good, we're going to do this concept here, get this person, get them to do this. It's almost someone that's just managing the show the entire time, right? And then doing those, you can execute this entire playbook. Have someone organized, have somebody run the show, have the cinematographers shooting the show, and then have somebody editing the show. You do that, you're fine. The more people you can continue to add on, more shooters, more editors, the more you're just going to be able to pump out, right? That is the reality of this. We've done it multiple times. Tier Two was the first time. It was a big learning lesson, I remember. That was your Tier Games, right, a couple years ago?

15:38

Yeah, it was the Tier Cup.

15:43

Yeah, yeah, and it was relatively the same thing. Now, what was cool was we hit 10K in three days. That was the wild step. Then we ended the entire Malbon Home activation at 15K and probably five to ten million views. The funny part was, bro, I wasn't even tracking views on TikTok. I knew these were getting published. Then there were two cool parts. There were people writing about the Malbon Home left and right, about the content, how it felt, whatever. Awesome. But they kept sharing the TikTok videos and the TikTok screenshots. I'm like, oh, let me look. So I'm looking, and I'm like, oh, JR's thing, bro, it has 400,000 views on TikTok. It has another 200,000 views. That's 600. Then Victor Cruz, and then the other ones. And bro, all in all, it was a hell of a success. But it really came down to the planning of it and then thinking in the moment. You got to have the ability to not fold under pressure and be able to think in the moment. And that's something I'll stress to anyone. It's so easy to be like, we got to check this off the book, we got to check this off the book, and freak out if you don't.

15:47

Our most viral videos came from not having them, outside of Letters from Augusta, came from not having it in the book and thinking on the spot, and then being like, that's a good idea, let's make it 10 times better. You could spend two minutes with two people, three people, and make an idea 10 times better because somebody's going to be like, what if we add the zoom? What if we add this action? What if it's XYZ thing? And all of a sudden the idea just got significantly better. So that's my rant on the Malbon Home. It was fun. The energy in Augusta is crazy. Is crazy, bro.

16:04

Yeah, that's an all-time sporting event. I feel like that could have been, did y'all get a write-up? You should get some press. I feel like you could actually get someone to cover this in Ad Age or one of those boomer magazines. Yeah, hopefully they're not watching this and I just called them boomer, but seriously. I should, because it is a modern thing. I told Johnny today, I don't know why I haven't made a video about it. Yeah, for sure. What a miss. Yeah, well, huge miss. We're still in April. I don't know when you'll be seeing this episode, but no, I'm going to hit some stuff today about it because I'm like, I should have. I should have, for sure.

16:30

And it's also like you had a great outcome. I feel like you can lead with some pretty impressive stats, name-drop plenty of people, all sorts of stuff. Yeah, well, that's a wrap on this episode. I almost forgot how to end these damn things. Just leave a review. If you're on YouTube and you found it, subscribe. Yeah, subscribe. We need, how many, 82,000 subs? We're getting there. Slowly but surely. Yeah, please subscribe. We got about seven months. We'll catch you all next week. Got a lot of fun guest episodes coming, and yeah, stay tuned. that's something that you know is really difficult to execute and your process is probably gonna be

16:56

super valuable for people to think about we're halfway through the playbook if you want this full playbook I actually wrote it all down I put it into an entire case study and essentially newsletter that you can download a full playbook that you can copy with more lessons more frameworks that you can use to be able to do this not just at any event or activation but overall with with your entire content strategy if you want it it's in the link in the description you can download it it's yours so I'll finish the scalability part where for that you really just need to be able to think in something that gives you the ability to do a lot of it very fast and there is minimum

17:29

friction we set that up and it like the nature of it allowed a lot of people to do it without a lot of time being needed you know like Victor Cruz comes in Victor we need 20 seconds great golfer great great golfer yeah we need 20 seconds the miss was and this is this is like if we want to talk about L's we should have ordered like three phones just so that we could have had it like we didn't get the phone it didn't arrive until the last day so we had Jr we had Victor but the days before we had Durrell Wright we had Dwayne Wade right like we had all of these people that we could have then the

18:07

D Wade one would have gone crazy that was the day we had the dinner so it's like we had all the superstars there at the dinner that we could have done it with um so that was the miss you know but you live and you learn we should have we should have got uh we should have got more phones there'll be a master's next year yeah oh the US Open we're going to the US Open but that concept that the US Open doesn't make sense you know what I mean yeah so we have to figure out like a a completely different concept um another concept that hasn't gone out yet was we did a and this one was this one was funny

18:39

we did um how to dress for the masters with schoolboy Q because he was he was there the entire time you can rock a bucket hat at the masters right yeah yeah yeah um at the tourney no I don't know if you could rock as attorney yeah it seems like a no I don't know but schoolboy did like this whole we that was another one that we thought of like we used the whole store as a set it's like how to dress for the masters with schoolboy Q and it was like he opened up the first line he's like what's up bitches and he just like goes right into it it was it was phenomenal because he's a character

19:13

absolute character all right the fourth thing that you need to think about is executing stations so you're doing all this and just think about it all through the lens of stations right like Randy you got station one station one's letters from Augusta Val uh McCoy you have station two and three station two is going to be look books and and Mike uh Miking Miking up the the the store team cool that is that's station number two station number three is going to be in the backyard and we're going to be doing we had all all sorts of different concepts we were trying out in the backyard but like that is station three you're going to execute all of those cool that gives you the

19:51

ability to shoot and drop and then also organize based on what was shot by who which is also a huge huge part of the entire thing is like if we're all dumping random footage and I can't tell you like everything I captured it's going to when we're talking about speed at something like this it is so much harder to execute if it's not organized but if Randy comes in and drops everything is like yo this is all letters from Augusta Val comes in and goes this is all look books and this this this and they organize it categorize it then on the timeline it's 10 times easier to be able to edit and get

20:21

those things out the door so executing the stations is not only from an efficiency standpoint from the actual production but it's also huge from the organization point for the editors that are going to be working on the the footage the fifth thing is collab when you can anytime you you know typically with like at least the brands that you and I have worked with is like there are going to be celebrities or influencers coming through be very aware of who they are and when something comes up like push to have it done you know what I mean like Charlie Hall was there and we didn't have

20:55

content originally mapped out with her we planned or as soon as we saw her and we were like hey she's here for 20 minutes doing a signing we're like can we get her for two minutes right and D Wade was there cool what can we do with D Wade Victor Cruz is there cool what can we do with them so you have to be able to think on your feet and think or or also think about like how you could just leverage them to get them in your content because if the content is good enough they'll collab with it right like JR hasn't collabed on anything this was his best piece of content in the last two or three

21:26

months right because it was an awesome piece of everything of his has been getting 20 to 30 thousand views this got hundreds of thousands of views right and so it was like a great piece of content for him but at the same time you have to just be able to like have that person that can go to be like JR you mind doing this for 20 seconds chances are they're going to say yes so like think about that as especially when you're trying to grow as fast as possible as just bridges how many bridges can I build the more bridges I could build into my ecosystem the the chances are I'm going to be

21:55

able to succeed a a lot faster I think I think you made a good point too I mean it's something that we think about with guests right it's like how do we get a bigger guests and it's by set design a fire clip like it's it's basically like how do you make the guests look good you know that's that's why a lot of the central philosophy today didn't happen yeah low-key it was like the the person that was doing the scheduling was just like we just want to use like a boring set like he was like yeah let's just do this pod set I'm like no like this is not us like some out of the box like yeah yeah like that's I

22:29

don't want to roll that way yeah if you've seen Hermosi on that set we can't be there it literally has a picture of Hermosi in it I knew exactly which one it was yeah bro because I've almost got booking that yeah production quality I mean it just especially in today's day and age like you have to like really differentiate yourself on the feed like I think people are starting to get a little numb to like similar backgrounds I mean it also you you don't want to blend in with slop right in any way so yeah so going into the the last few is the other thing you need to think about if

23:02

you are trying to grow right if you're trying to leverage an event to grow top of funnel middle of funnel the top of funnel content was like what has the ability to cast the widest net and really has the ability to like get eyeballs from the masters on us okay which which is really like pure entertainment value like anyone associated with golf but like I mean that J.R. Smith thing like I'm sure some of those letters from Augusta that could just touch someone who had a bond with their parents about you should sports yeah but there's people crying there's people in the in the comments just being

23:29

like so it's it's inherently like a very large tam that you can go after with extremely large tam now the middle of funnel content in this case isn't about product it's not about the brand as in like trying to teach somebody about the brand it was all about can we make you feel as if you were there without being there it was hey the the Malbin is doing uh bird watching we're gonna send somebody out we're gonna mic up the the guy who is doing teaching the bird watching we're gonna mic up the people that are there and make you feel like you got to go bird watching with us we had three videos

24:01

go out for bird watching probably got cumulative like 40 50 000 views across all of them fine the people were in the comments like being like yo this is the dopest thing this guy's hilarious he's a character like they felt as if they were bird watching we had tai chi we made them feel as if they were doing tai chi with us we had cold plunges make them feel as if they were they were doing cold plunges with us run club same thing like it wasn't just recap of the thing it was moments within the event or the activation or the scenario that you would have only seen if you were there right like

24:37

hearing a like one of the clips the i don't remember the name of the bird but like a noise goes by and the guy goes you hear that long long feathers cock is banning it just like says some crazy shit yeah right now y'all already know we are super skeptical on this show about most ai tools promising the world they have flashy demos huge promises and ultimately under deliver but i do have to tell you about one that has blown me away and saved my team countless hours of time and that's rich panel imagine a 24 7 customer support engine that handles all of your tickets seamlessly escalates anything requiring human

25:11

intervention and here's the best part upsells your customers in the process their onboarding process is frankly one of the craziest things i've ever seen you input your brand and within 15 minutes it has full context on the latest drops product information and plugs into all of your apps that's not even to mention the cost savings they're like three times more affordable than their competitors i couldn't recommend this enough so if you're a brand looking to turn support into an asset go check out richpanel.com and tell them we sent you and then he like points to somebody else he's like what

25:38

is it and the guy's like a crackle and he's like there we go and then he starts off the clip he's like forget everything you've thought about you or forget everything you thought you knew about birds it's like dude the dude was such a character but again like it made you feel like you were like you were there you know what i mean like even the some of the golfing stuff that like we did with d wade it was made to feel like you were there golfing with him him talking him like not hitting it well and being like you know like complaining whatnot it wasn't supposed to just like make the brand feel

26:11

cool it was again made to make the brain feel accessible which was which was huge now the last thing is don't follow all the above when creativity strikes not throw all that out the window when you have a good idea or a moment where you're like ditch everything we need to be creative right now and i'll give you scenarios um logic's creator logic's dj was there which is his name is rhetoric logic like the the rapper i don't want to die yes i don't want to yeah how's he doing no idea did he make it past that phase he made it past i was worried about bro for a second so logic's dj was there his name is rhetoric

26:54

rhetoric had like a little space in the corner where he's just like doing tunes the entire time i go on rhetoric's page and i see that he had this copy on a one-shot video that he did where it was like imagine walk or imagine driving down something lane listening to this before the masters right something along those lines i see him and i knew he was like setting up and so there was a little bit of time before he was fully set up i'm like yo can we do this shot where we're going to have your dj step on the steps because this was day one so we wanted almost like introduce it as we're kicking off mobbing

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home and so i was like can we do something where like is well first is this portable yes cool can we do something where your set like your dj set your mixer is on the steps at the beginning we're going to be across the street and you're going to walk from where you would be to the front of the house outside sit down get your mixer and start playing and then like do the same beat and we're basically going to recreate your video that just went viral yeah but with a little bit of mob and home twist right so we're across the street we the way we can see is like we can almost shoot through the gate and the door

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door so as he's walking we're like doing a soft zoom soft zoom he comes he uh comes in a frame sits down starts doing his beat and he's just sitting on the steps dj right and like the aesthetic is the mob at home it's like it's beautiful okay and so we we do we rip that that video gets five to maybe seven hundred thousand views like in that ballpark right like absolutely rips but there's nuances that we got to talk about so the first thing is like the aesthetic is beautiful the mob at home is is beautiful two we start in action where he's already walking towards the camera right and then the idea

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of like picking up a a mixer on steps is a little odd weird right and then he starts djing on just steps right and so all of these elements played into the idea that's that was one of our top of funnel ideas but again that wasn't that's not something we could have planned you had to know like we didn't know rhetoric was going to be there cool rhetoric was there we thought about like the where it could be shot how we're going to put people in a frame the actions cool that was one before that like 20 minutes before that again talking about speed um steven wasn't busy right and so i was like steven let us use

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you for for one shot and so we wanted to kick off like day one of malbin home this video i think got 200 000 views and the idea started as same spot that we shot for rhetoric eric or uh steven's just going to walk into frame walk through the gate and walk into the house just to be like we're kicking things off that's level one how do we take this up to like level three of creativity cool hey mike can you go get a cigar and sit on the steps right in front of the gate and smoke a cigar at 9 00 a.m right and like have a bunch of smoke in there cool mike you do that then there's this other guy uh

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uh johnny what was his name mort mr mort yeah this this guy more guy is like this like fanatic masters guy big falling yo can you be like as soon as he walks through the gate can you just be like snacking right and like as soon as you're introducing action yeah like kind of easter eggs in the background yeah yeah exactly and it makes it feel like a live environment exactly so he's over there doing like he's over there eating something just like throwing down some food cool steven as soon as you want you're going to start right here you're going to walk right into frame as soon as you walk in a frame

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just walk by mike dap them up don't even like pay attention just like smooth dap them up keep walking through see more dap him up walk through as soon as you get into the house clean your feet because of golf and keep it moving right so steven's a character too bro because like love steven even if he's not really doing something he's like i'm busy i got stuff to do and he he like he looks at randy he's like you locked in all right camera locked we're rolling and just like goes yeah bro hits the one thing and just kept it going like didn't even like see if it was it was good he didn't

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even look back he didn't look back he just kept it like if you watch the clip he walks through all the way through the house and just like never came back right so i mean he built the brand on like aura you know 100 he just built it on having some aura dude's a character yeah funny stories of like i could tell in a second but like walks in or he we hit frame dat punch clean feet rolls through that was the clip right if we would have done level one hey steven can you just walk in boring but i'm like a just like smoking a cigar at 9 00 a.m and then somebody just snacking like it adds these layers where it's

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like why is that guy smoking okay i got you for three seconds why is that guy just snacking got you for another three seconds steven cleans his feet what the hell like it gives all these elements that just compound then the last one that and that one got i think i'd have to look but i think 200 000 views the next one i think this one got a million was charlie hall was there do you know who that is golfer she's like number four in pga tour for i don't know she's an absolute dog right she just signed a deal with on i think it is like the pouches oh yeah yeah uh like the nicotine pouches but they were

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doing a an ashtray giveaway i don't know if you saw them all of an ashtray it goes crazy um they were doing an ashtray giveaway where she was signing it and and you know we were we were going to give it away that was another thing giveaways were part of the growth process as well i have to have that mechanism yeah and so for charlie we were like hey can we get charlie for two minutes and and connor was like yeah we can have her for two minutes but she needs to be able to sit down do the idea and like be gone so i was like cool and she was he was like well we can't do anything with smoking because she's

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just she's trying to stop smoking she just signed a deal with on on trying to what was she smoking before she was just smoking smoking heats safe yeah supposedly she's just a person she'd be like on french golf i think so yeah i think she's on the golf course just smoking cigs bro and so what we had her do was like look charlie you're gonna be sitting down at like these you're gonna be at the malvern home your malvern home is going to be in the background we're going to shoot this way we're going to have like the umbrella in in frame so it's like a vibe like you would be smoking a cigar and

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you're going to basically take it out of your mouth as if you just took your last puff and she like takes it out she looks and she goes i'm done with this and like puts it down and just like signs the thing and like pushes it away like she's done with it right bro first off we're lucky we got it off her agent came in as soon as we finished film was like and like blocked cameras i was like what are you doing and then she looked at us like what is this for and we're like from alvin like she's like she can't be smoking she just signed a something you know seven figure deal with on and we're like no like

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it's kind of like part of the bit so we had to go to on and be like hey are you okay with this this and they were like yes because it says like i'm done with this right but that was just like an idea of what's her story how can we leverage this and what can we do that's not just like a photo of the ashtray that video like it's easy to see you get the collab post with her as well yeah so it's easy to see okay she has 800 000 followers of course it's going to go viral all her clips before that got 100 000 views maybe at top like 200 000 views for weeks this one's at probably 900 to a million views if

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not more by now right and so it's like this like seven second moment that has the ability to like people know her as a smoker they know she's trying to quit we just told this micro story and we added in all these different actions that keep you pressed on the video i mean it's all about compressing a story like you you set up conflict resolution like you really are able to tell a lot in seven seconds even though a lot of people just get overly winded you know and it's like the last thing i'll say is because from a team perspective how do you execute this depending on right like everybody's budget

34:52

and everybody's team it's a bit different but like if you have two videographers awesome right like that that gives you the ability to do a lot but you need a dedicated editor that is the the key element here so like you have to have a war room where you drop footage they know the the concepts they know exactly what they need to edit and they you drop it to them and they're able to get that edit out in basically like an hour hour and a half okay so we had that and you have the briefs there they know they know the briefs now the other thing that you need is a director essentially somebody that

35:25

is going around and like checking all the boxes of like cool that frame's good we're going to do this concept here get this person get them to do this it's like almost someone that's like just managing the show the entire time right and then like doing those you can execute this entire playbook have someone organized and like somebody have somebody run the show have the cinematographers like shooting the show and then have somebody editing the show you do that you're fine the more people you can continue to add on like more shooters more editors the more you're just going to be able to pump out right that

35:58

is um that's the reality reality of this we've done it multiple times with like tier two was the first time it was like a big learning lesson i remember uh that was like your tier games right a couple years ago yeah it was like the tier cup yeah yeah and it was it was relatively the the same thing now what was cool was we hit 10k in three days that was the wild step then we ended the entire malvern home activation at 15k and probably five to ten million views the funny part was bro i wasn't even tracking views on tick tock so like i knew these were getting published i then see the cool there was two cool parts

36:38

there was people like writing about the malvern home left and right about like the content how it fell whatever awesome but they kept sharing the tick tock videos and like the tick tock screenshots i'm like oh let me look so i'm looking and i'm like oh jr's thing bro it has 400 000 views on tick tock it has another 200 000 views like that's 600 then victor cruz and then the other ones and bro like all in all it was just it was a it was a hell of a success but it really came down to like the planning of it and then thinking in the moment you got to have the ability to not fold under pressure and be able to

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think in the moment and that's something i'll stress to anyone is like it's so easy to be like we got to check this off the book we got to check this off the book and like freak out if you don't our most viral videos came from not having them outside of like letters from augusta came from not having it in the book and thinking on the spot and then being like that's a good idea let's make it 10 times better you could spend two minutes with two people three people and make an idea 10 times better because somebody's gonna be like what if we add the zoom what if we add this action what if

37:44

it's xyz thing and all of a sudden the idea just got significantly better so that's my randall malvin home it was fun as the energy in augustin is crazy yeah is crazy bro yeah i mean that's an all-time all-time sporting event i feel like uh that could have been like did y'all get did you get a write-up you should like get some press like i feel like you could actually kind of get someone to cover this in like ad age or like one of those like you know boomer like magazines yeah hopefully they're not watching this and i just call them boomer but like seriously like that i mean i should

38:18

because it is kind of modern thing i told johnny today like i want to i don't know why i haven't made a video about it yeah you know for sure what a miss yeah well huge miss i mean what we we still in april yeah i don't know what you'll be seeing this episode but but no i'm gonna hit some stuff today about it because i'm like i should have you know i should have for sure um and it's also like you had a great outcome like i feel like you can lead with like some pretty impressive stats name drop plenty of people like all sorts of stuff yeah well that's a wrap on this episode i almost forgot how to end these

38:50

damn things yeah bro just leave a review hey if you're on youtube and you found it subscribe yeah yeah subscribe we need how many 82 000 subs we're getting there you need slowly but surely yeah yeah please subscribe we got about seven months yeah um now we'll catch you all next week uh got a lot of fun guest episodes coming and um yeah stay tuned

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