October 20, 2021

515 Productions (Season 3 Episode 55)

Lynn Melling and Ian Planchon met on the set of a TV News organization and started 515 Productions, a production company designed to help brands tell their stories through award-winning video production.

From scripting to shooting and editing, and everything in between, they collaborate with clients throughout the production process, to create impactful videos that capture attention and build connections with consumers.

Their current project, Freshwater, just won  Ian a 2021 Upper Midwest Emmy for Best Director after being previewed at this year’s Catalyst Film Festival in Duluth

Support the show (https://paypal.me/StephanieKHansen?locale.x=en_US)


Stephanie Hansen  00:00

Well maker’s friends. The September dinner at the Lexington was such a hit. We decided to keep it going for October. We’re hosting another makers and Minnesota dinner at the Lexington in St. Paul. Not only will you be front and center with some of the best makers in the Twin Cities, but you will be treated to a three course dinner compliments of chef Antonio from the Lexington who’ll be using the featured makers ingredients in the courses that he’s making for this special event. Our October dinner is Tuesday, October 26. And tickets are $98 our featured makers are sold fun, including sweetland orchard out of Webster, Minnesota, who’s making beautiful ciders, Apple ciders and hard ciders at their orchard with over 50 varieties of apples. And also on deck is the humble goat cheese made by the folks at the award winning Stickney Hill dairy company. And k mama sauce. The slightly spicy and slightly sweet came mama Korean hot sauce. I’m just crazy about this sauce. And my friend and maker case he calls it the Korean ketchup. He puts it on everything at his house. And I do too and it’s featured in the first ever makers, a Minnesota holiday box filled with my favorite products from makers in the Twin Cities. So we’ll be taking orders for the boxes on site at the Lex two, which I’m excited about. I just can’t wait to see how chef Antonio will use all these ingredients in his multicourse menu. We’ll have a limited number of tickets for this special dinner and when they’re gone, they’re gone. So go to the lex mn.com and sign up via Eventbrite for the makers of Minnesota dinner for October. Get your tickets now at the lex mn.com. For Tuesday, October 26 at the Lexington Hi, this is Stephanie Hansen and you are listening to the makers in Minnesota podcast where we talk to cool people doing cool things. And you might have heard about a festival that was happening I think it was a week or so ago up in Duluth, it was called catalyst. And it was a production festival Film Festival, content creator festival and I saw some stuff on social media about it and I was interested. And then I saw my friend Lynn Melling posted something about it. And Lynn and her husband in plan Sean have a business that is called 515 Productions. And you guys posted that you were involved with this. And I needed to know more. I was like, what are they doing production wise Lynn, I know you as a podcaster. Having been a guest on your program. We do this for fun, Lin. Let’s just I want to kind of roll back a second. You and I were connected through my stepdad and your mom a while back and you were looking to move to the Twin Cities and wanted to kind of grow so was that when you guys started 515 Productions or even had you already started it.

Lynn Melling  02:55

He actually started years and years and years ago, back in 2016 or 22,006. Um, so yeah, we met working in TV news up in Anchorage, Alaska, and then moved I wanted to get closer to home because my family’s all here in Minnesota. So we were in Des Moines, I got a job there. And that’s where he decided to lead TV news way earlier than I ever figured out that I needed to leave TV news. So he left and started a video production business at some 515 after the area code of Des Moines or Central Iowa to 515 Productions. That was in 2006. And I kind of I worked behind the scenes a little bit here and there on projects and really fell in love with the marketing advertising content creator brand content side of things. But yeah, he really built it though I was kind of in the background and he built it. So yeah, 15 years over the course of 15 years.

Stephanie Hansen  03:50

He and were you a camera man at

Ian Planchon  03:51

a new station. That was Yeah, I started out in the studio side running studio cameras, which is when I left MIT met Lynn because she was a reporter there at the time. And then I went to film school because I really wanted to learn how to make ski movies shooting with film cameras. But at that time, by the time I got to film school, they had just transitioned out of film and into digital so I missed the film world by about a year and so yeah, I learned how to use digital cameras that were all the rage back then and it’s kind of been my thing ever

Stephanie Hansen  04:21

since who’s the famous ski film guy? Which one there’s Warren Miller is that’s the one I’m thinking of Yeah, I wanted to be your own like Warren Miller did the move from film to digital coincide with the apple and the iPhone and the film products

Ian Planchon  04:37

I was long before that I believe I mean they had I remembered actually pretty well when when I was in film school the iPod with the touch wheel Yeah, that was their newest invention but iPhone wasn’t on on our radar yet. Um, you know, I’m sure it was on their radar but not not out to us yet.

Stephanie Hansen  04:54

We’re kind of in a weird space to both you guys have experience in digital creative And audio creation, because for the longest time, you couldn’t produce these types of products unless you’ve been to film school or unless you had a, you know, full production studio. And with radio, you know, you couldn’t just start a radio show and you couldn’t podcast because you didn’t have a board and all the stuff. And it’s really with the advent of technology, you know, there’s varying grades of quality for sure, you’re not going to get a highly produced movie necessarily on your phone. But it’s commoditized. A lot of that to make it sort of at the hands of everybody. Has that been beneficial for your business? Or does that scare you as you move into the future?

Ian Planchon  05:40

No, it doesn’t scare us, it has benefited us. The story we like to tell is our creation story, when I decided I was going to quit news and start our company. At that time, the only cameras that were in my head that we had worked with up until that date were $100,000. And so you had to get a loan for $100,000 by these cameras that were already massively outdated, but their industry standard. And you know, so you’re in debt up to your eyeballs right off the bat. My dad was very stressed about it. He lived in Portland, he lives in Portland, when we were making this change. And so he was like, there has to be a better way. And he used Craigslist, oddly enough to find someone in Portland, who was a freelance camera guy and ask them, is this what you need to do? And that guy was like, absolutely not. Because apparently there was a whole new wave of cameras I hadn’t learned about yet. And so he’s stopped us from spending $100,000, we spent $12,000 instead. And that’s the first camera we’re ever bought. Now, technology still, for the best of the best, it’s gonna cost an arm or leg. But the cheaper stuff like you mentioned, your phone is still an amazing way to learn how to do these things. Because there’s technical aspects, you know, and there’s certain rules you have to learn before you can break those rules. And you can learn all that stuff using your phone as a camera. And so for our business, I don’t think cheaper cameras have hurt us because there’s still really high end stuff that we can access. But it’s also there’s also these smaller form factor cameras that are amazing, they can get us into smaller places and get us creative angles, and all these things that we can do. And that stuff didn’t exist 20 years ago, you know, drones, drones and other thing you used to have to spend 20 grand a day to have a helicopter flying around with your camera mounted to it, you know, but I 1500 bucks and you got a drone for life.

Stephanie Hansen  07:24

Yeah. And you know, you when you’re out skiing, and you see these guys with their GoPro helmets on, it was kind of cracks me up because I think, do they actually like go home after a day of skiing and watch that? Right, like, it’d be so boring.

Ian Planchon  07:41

Yeah, but you know, it’s funny like the to get kind of in not to jump ahead too much, but the content sharing and creation side of it. GoPro created just an amazing, amazing world around their camera in the content sharing side of it. And they came up with a whole a whole award program where for a calendar year, people would submit their best clips from their skiing or biking or swimming, whatever. And then at the end of the year, GoPro would award them with a certain dollar amount, I can’t remember what it is. And so yeah, these people are out there and capturing all this content, because they want to submit for GoPro now you know, and it’s like, you got to buy the best GoPro now because you need the better image so you can get in this award and win it. It’s really cool.

Stephanie Hansen  08:22

So when you guys decided to work together, so Lynn, you are like, Okay, I’m gonna take this leap. I’m gonna work with my husband, did you decide to delineate roles? Or how hard of a decision was that to make? Because I worked with my husband for a long time. In some ways, it was the worst thing we ever did. And in other ways it was the greatest.

Lynn Melling  08:44

Yeah, no, I’d say we are definitely learning a new communication style. And learning to divide, you know, and be having a conversation about business versus a conversation about her family, for instance. But we complement each other very much in, in a lot of ways. It’s very much, if you want to take it back to our TV news days, I was the reporter he was the photographer, and it’s still very much that way. He knows all the things about the cameras, and he has really great creative ideas. He’s always got really interesting ideas about new ways, new angles, new stories, new ways to tell things and show things. And I’m more of the nuts and bolts producer. You know, how do we make this happen? Looking at editorial calendars and figuring out how it strategically fits into a brand’s overall more calm strategy, for example. So yeah, we don’t really step on each other’s toes too much. We certainly disagree at some time as on I sometimes overextend us a little bit, whereas he values going off the grid one of the Boundary Waters and leaving our phones behind. So that’s kind of a balance, but for the most part, it’s been a great move.

Stephanie Hansen  09:51

So what like how much of the work is creative film work, and how much of the work Work is like brand production film work, because I imagine that that’s what pays the bills. But what is fun is probably the other side. And how do you balance?

Ian Planchon  10:09

Right? When when I started the company, I knew I wanted it to be a little bit different than the standard production company we wanted to focus solely on like sports, and action sports and things like that. Not not like football in baseball, but action sports. So mountain biking, I wanted to get back to why I went to film school, that was the plan. And so I think for the first 10 years, we were actually pretty good at that. And we did, we did a couple movies with some of our favorite production companies, we partnered up with them, we did a bunch of Red Bull stuff with them. But like you said, the corporate world, the branded content world, there’s way more money there. And at some point, you do have to realize that with a family to support and to convince Linda come over and show her we can actually make some money. So it was okay, let’s start trying to get some corporate clients and do some of that. And so I’d say back in the day, it was probably like 70% was the creative fun stuff. And now it’s like 10% 20%. I

Lynn Melling  11:08

I’d say though, to add to that, that there are so many more opportunities, I think brands are really opening their eyes and realizing that if you want to create compelling content that the target audience is actually going to pay attention to you have to get creative. And you have to think outside the box. So we’ve been able to apply a lot of what Ian’s background you know that the creative side of it and brands, corporate brands want that for their to tell their stories. So that’s been a fun, I think the the storytelling aspect of corporate videos has really improved in the last I don’t know a few years. And brands are willing to take risks, more so than they used to be, which is which is fun and helps them stand out. It helps differentiate them when they can tell their own authentic story. So

Stephanie Hansen  11:57

So how did this dovetail into catalyst? And I wasn’t sure like, Did you guys submit a film? And is that how you got involved? And I thought it was really fascinating that they were having this production film content creation event in Duluth, Minnesota, which is not known for being a mecca of film necessarily. And also I know Minnesota Film Board has reinstated this money that will go towards people that create film here. And it’s been I mean, I was I remember when we had that film money and we got films like grumpy old men, and then it was like a dearth. And nobody would film anything here because places like Canada and all these other places offered all these incentives. But is that like how Duluth got involved? or How did you guys end up into it?

Ian Planchon  12:43

So to dovetail it in, we were doing all this corporate stuff, and we realized we wanted to do something. We hadn’t done something really fun in a long time. And so we were coming back from Grand Marais. Actually, we’re driving through Duluth, and we happen to notice these surfers in the lake. We

Lynn Melling  12:56

practice we love Lake Superior. We love the North Shore we’re obsessed with when we go there. Any chance we get so anyway to consider a

Stephanie Hansen  13:05

great spot. Yeah. surfers are crazy out there.

Ian Planchon  13:09

Exactly. Yeah. And so that to me, it was like man, that’s our heritage right there. And we need to do something creative. So we decided we’re going to try and do something with the surfers. And so we started shooting the project in 2019. not really knowing what it was going to be COVID stopped it. And that’s a blessing and a curse. But during during the pause, we started sussing out a few more storylines that were in there that we knew about. And one of them was a very science based portion of it. The health of the lake is something that is dwindling a little bit. And it’s got some people concerned largely a program called the large lakes Observatory, which is with the University of Minnesota Duluth. And so we we had been trying to conduct interviews with that group and with some representatives of Duluth, and they said, this project you’re working on has to get into catalyst, because it is a Duluth based film series, competent festival. And your project fits it perfectly. And so that was that was our introduction and catalyst. And so we entered. We scrambled and we cut a short version of our documentary into a 20 minute series based episode and then entered it and it was accepted.

Stephanie Hansen  14:16

That’s so exciting and catalyst always happens in Duluth.

Ian Planchon  14:20

It’s new to Duluth I think 2019 was its first year, but it used to be a different festival called ITV and that was based in LA and then one of the helpers for the festival. He grabbed the baton and took it over and then moved it to Vermont. And he just wasn’t finding the traction he was hoping for in Vermont. And so he apparently the story goes, he drove all over the country looking for the next best place and end up in Minneapolis. And he was like yeah, it’s okay. It’s got a great feeling, but it’s not quite what we’re looking for. And somebody said, hey, go to Duluth. And so he drove up Duluth News. Yeah, this is it. It’s probably got

Lynn Melling  14:55

you know, you’ve got this ocean in the background. You’ve got Small towns, you’ve got big city feel you’ve got forests. So there’s a lot of opportunities for film crews to to shoot in Duluth, but it could be any city, it could be on the Mediterranean, if it’s a sunny day, you know, it could be anywhere. So I think that was a big reason why Duluth? What drew him there?

Stephanie Hansen  15:18

Yeah, I remember the first time I went sailing in Duluth, and someone called it the Caribbean of the North. It is, and I got out there and I was literally, you know, out in the, I think we were on an island, and we, we were mord. And I’m looking about 30 feet down into the water, and I can see the bottom. And I was like, wow, this really kind of is like the Caribbean once you get off the shore, and you just explore the lake. It’s so varied and so fascinating. And such a gigantic lake and huge and all the stuff you said about it. It’s so cool that it’s right in our backyard, but also like other water, large bodies of water and water in general threatened. So I’m glad that you’re able to bring attention to that. The movie that you are is your movie done or is just the clip done because it’s called freshwater right?

Ian Planchon  16:12

All freshwater, we have 23 minutes of it. But like you said that was for this this festival alone, we’re actually we just got the word yesterday, we’re getting on the blue heron, which is the research vessel for the University of Minnesota Duluth. And we’re going out tomorrow with them to capture more of this science part of this story. And that’s that scene is the last scene, we really need to complete this. So we’re actually pretty excited to be done the show.

Lynn Melling  16:36

And then our plan is to pull it into a feature length film, so about 16 minutes or so. And then we’d like our plan is to premiere it in Duluth in February, because who doesn’t want to go to Duluth in February, have a premiere party, invite the cast and the crew and then turn it into a fundraiser for the large lakes Observatory, because they’re really charged with studying this lake and keeping it safe and protecting it. So all proceeds will go to the large lakes Observatory, we’re looking for we have some corporate sponsors who are interested and you know, helping fund this. So if anyone out there listening would like to participate, we’re happy to connect with you. Again, every proceed every dime that we get will go back to the large lakes Observatory, just to continue to help with research for the lake.

Stephanie Hansen  17:22

And then you have to bring it in the fall in October to the Twin Cities Film Festival.

Lynn Melling  17:27

Yes, that is absolutely the plan. Yep, that will be happening.

Stephanie Hansen  17:31

That’s a great festival and I’ve been a part of it and looking forward to it’s coming up in a couple of weeks here can How do so I’m a small business, right? And I everyone could use some video content. It’s really hard to understand as a business person, like, what type of content you need, and everybody’s like, well, I can do that on my phone. Like I don’t know, like how do you decide when to invest in this type of a resource to get videos for your business?

Ian Planchon  18:07

I mean, for us, I think the answer is you should always invest in video. It’s always the bottom line. We’re never gonna say you shouldn’t invest. But I think that I think it’s a personal question for each business right? And we will like it I guess our role is to connect with businesses and and if they have a question about videos and do we need video we like to play that role of let’s take a look at your business let’s see what you’re missing and then let’s come up with an idea to tell your story in a way that will help you and and sometimes regrettably, the answer is not video it’s a blog or some sort of story that’s being written about them and sent out you know, because print still exists and it’s a good medium still, you know, and but I mean there’s I feel like there’s always an opportunity to tell a story with video, but sometimes sometimes you can save some money and do it, you know, a different way. Yeah, and there’s all

Lynn Melling  18:59

kinds of different scales. You know, if you’re shooting you know, we’ve shot commercials and televised commercials that need to be shot on the you know, the most expensive cameras with you know, a 15 person crew. And then but not every not every shoot is going to be like a Superbowl ad right? So you have to figure out you know, and we like to also play the role of helping consultant recommend and we’re not all things to all people but we’re happy to help point people in the right direction and make sure that they get that they invest their dollars wisely because we believe that if everyone does get on board the video train and has a good experience with it that benefits everybody in the film and video industry.

Stephanie Hansen  19:39

I think too. There’s like two schools of thought I think with video like one client I had wanted to do some recipe videos, and they got some estimates and it was like three to $5,000 for a 22nd video with basically hands making a salad. And they were just blown away by how expensive it was. They were like oh My gosh. So then they did the exact reverse and you know, did it on their phone and had their nephew edited in iMovie. Then it, it was alright, but it wasn’t awesome. Is there like a small, medium and large situation? So if you’re exploring video and you maybe want to have some video for tic toc or something of that nature, what do small businesses do? Because that’s our business is do not even small, you know, most of us don’t have the resources to go out and hire a full scale production company. And we probably can’t get there unless we’ve had some smaller situations first, to see the value of that, right.

Ian Planchon  20:40

Yeah, yeah, I think in that sense, we actually just had a phone call about this pretty recently. And like Lynn said, we do like to try and help as much as possible, because we don’t want to be like, Hey, sorry, I can’t help you hang up the phone. And so the there is an investment in video, there always will be an investment in video, because you’re asking someone to spend their time on your project, right. And they, most of the time, they don’t have a personal investment in your project. You’re also investing in their experience level, and the equipment they’ve purchased. And so in our mind, there’s really no way to get around the cost of it, like three to $5,000 for us seems like an accurate amount for what you’re looking for, as long as you want it good. I guess where the break point is, is what is your expectation of quality? And what is your expectation of professionalism, right. And so if you’re saying, I want it to be good, but it’s okay, if this person is still in film school, and still learning this stuff, right? They’re going to be cheaper, and they’re going to be eager. And that’s a great option. But if you’re like, well, I want them to be a production company and be professional and you know, have a crew show up. That’s your that’s the breaking point, they’re going to be expensive. So for us we recommended you know, find someone who’s just getting their start and and reach out to them Instagrams a great place for that, you know, because you can, you can cruise around and find someone who’s, who’s showing off their videos. And they’re like, Hey, man, I’m just getting started. But this is what I’ve been shooting, and they’re like, that looks really good. We could use something like that to help each other. And then you know, there will come a time when that person that’s been working with you is going to get expensive, and then you might not be able to afford them again. But unless you start and you have something to show for it.

Lynn Melling  22:15

Yeah. And that’s a good option for small businesses. But there are brands, you know, out there that their aesthetic is high and high quality. So that’s really where those big budget shoots come in. But yeah, for a small business owner who’s looking for some social media content, for example. Yeah, what Ian was describing is a good Avenue.

Stephanie Hansen  22:34

I wish there was like a way that you could have an you’re gonna roll your eyes when I say this, but like, you guys could mentor like six to eight people. And they could be like that smaller end of the business. So they’d get your mentorship, but we could afford them, but then they could move up into, because I do think once you’ve had a video, or once you felt the power of video or the power of film, there’s just no way to go back and quantify that experience film transports you in a way that most mediums can’t. And so what is the price on that depending on what you’re trying to achieve? It’s priceless, right?

Lynn Melling  23:17

Yeah. And we’re always open to like, because that’s, that’s how we got our start. We are always open to people reaching out who you know, looking for advice and guidance, mentorship, we really believe in paying it forward, because that’s how we got to where we are and, and you never know where the next Coen brothers are going to come from. Right? No, we’re you just so we’re always happy to offer guidance and suggestions and mentorship whenever we can.

Stephanie Hansen  23:47

My husband’s father was an investor in the first Coen Brothers movie. Oh, really? Yeah. And you know, just to hear that story about, like, you know, these two little Jewish kids from St. Louis Park, and how like, they were just kind of weirdos and yet, kind of had something is pretty, pretty funny story. When you when you think about brands, how do you connect with them? Like are you the salesperson land? Or do people come to you? Like, I imagine you guys are pretty new to town that you’re always on the hustle.

Lynn Melling  24:21

One of my passions is networking and coffee and happy hour. And that’s I love that. So that’s kind of my quote unquote, job now is to just meet with people and find out where their pain points are. For the most part, yeah, most we have. We get a lot of our business from Google just, you know, SEO, Search Engine. But what I’m finding is with my role here now is really, really trying to be an advisor and helping people understand how to use content strategically and effectively and efficiently. So if you’re going to go spend 20 grand on A video shoot, you know, how can you use that video that you’re shooting in a bunch of different ways? How can you could you rip the video and we’re gonna do a podcast? Did you turn that podcast then into a blog? Could you try it out, plug into a thought leadership piece that you send out to a trade pub, you know, so I think that’s the what I’m looking at my role as being is really helping people understand how all these content dots get connected. And yeah, and video is, you know, the medium that we love, but there’s lots of like inset, there’s lots of other ways to do that. And I have, I’m kind of a much I have a lot of different experience from, you know, the TV News World from the PR world. I was recently, you know, Corporate Communications Manager. So I draw from a lot of experiences. And I really find joy in putting the pieces of that puzzle together. And helping because not a lot of folks in Markham, corporate Markham understand necessarily how to pray. Rather, a lot of people are working in separate silos, creating duplicative content next to each other all day, not even realizing like, Hey, we could just rather making two pieces of content, we could make one, save everybody some time. It’s more cohesive, more holistic.

Stephanie Hansen  26:08

It is, it is funny, you know, I do some social media for folks, and they have so much content, but they’re constantly on this churn for making content. And I’m like, wait, just wait a second. Don’t you know, didn’t you just publish a blog over on LinkedIn? Like, that’s 10 posts, if we do it, right, you know, like, it’s badly, you will only want to have one thoughtful piece of content a month that you can produce, and that works in your lifestyle with your business. Give that to me, and I’ll turn it into lots of things. Yeah, yep. People just feel like it always has to be like this new churning.

Lynn Melling  26:44

Yes. And I just couldn’t, that drives me crazy. Because content can be used in so many different ways. And it can And honestly, like, who is ever offended when they see a piece of content twice? I mean, we listen to the same songs over and over and over again, we watch the same movies over again, at least I do. We watch the office. I mean, we’ve watched the office series ever, like, I think we’re on our third time, like people don’t get sick of watching really great content. So don’t be afraid to put it out there more than once, because chances are people liked it the first time around, they’re gonna like seeing it again.

Stephanie Hansen  27:18

Yeah, that’s a really good point of view. He and this is a totally random question. But as someone who’s been on the TV side, I just die when I look at the camera people with the cameras on their shoulders. Do you have like a horrible back from hoisting those around all the time?

Ian Planchon  27:36

Yeah, no, I think you just kind of get used to it. It is what it is, you know that that’s the career we chose. And so you can’t really complain about it too much. I will say, though, that as I advanced in my career a little bit, I’ve started investing more in having assistants who take the camera off my shoulder as soon as I’m done rolling. Yep. And that’s really nice. You know, so so I’m not always holding it there. And I can just hand it to someone and they can take care of it. Yeah. And

Stephanie Hansen  28:01

just the ergonomics of the whole camera holder. You know, that’s a weird question. But I’m constantly looking at these cameraman thinking, Oh, my gosh, they must have such backprop.

Ian Planchon  28:12

Yeah, you know, cameras have changed so much. Like when I was in a news world, they were pretty well balanced. And so it really wasn’t too bad. And then they started making them really small. And so your hands shift forward, and so yeah, then then then your back started hurting a little bit. But since then, they’ve come up with new shoulder mounts, you can adapt to your cameras, and they’ve addressed that issue pretty well. It seems like

Stephanie Hansen  28:32

all right, fine. I’m glad that you. Alright, so if people want to get ahold of you, if they want to start the conversation about how to incorporate video or possibly a film project, how do they do that?

Ian Planchon  28:45

I mean, you can google 515 Productions, you can go to 515 Productions, calm or you can just email Ian at 515 Productions or Lynn at 515 Productions calm.

Stephanie Hansen  28:55

Alright guys.

Lynn Melling  28:57

Yeah, talk to anybody who’s interested. So and thank you so much. Yeah. Yeah, you know, talking with us. It’s been fun.

Stephanie Hansen  29:04

Super fun to hear more about this world. I’ve always loved film, and I’ve been usually on the fundraising side of helping people get more money for film, but I’m glad that the Twin Cities is kind of back in the game as it were. And I think Yeah, yeah. Be on the forefront.

Lynn Melling  29:21

And quick side note, if anybody does want to watch the freshwater film, it is on our website. So 515 Productions calm. There’s a little tab that says our films and you can watch the 20 minute version that was entered into catalyst and so it’s just right there. You can watch it from your couch.

Stephanie Hansen  29:35

And it’s pretty great to to support and champion Lake Superior because Absolutely. A beautiful, beautiful beast. Alright guys, thanks.

Ian Planchon  29:44

Thank you so much. I