Transcrição completa de Episode 3 -Lights, Camera, Aurrigo: How Hollywood is Shaping Our Brand.

00:04:23,920 Then when we wrapped that, the transition to the frozen tundra of Ottawa happened because 70 00:04:23,920 --> 00:04:29,040 Dave knew that I was finishing up that project and wanted to know if I'd like to be involved 71 00:04:29,040 --> 00:04:31,760 with what a Rigo was doing. 72 00:04:31,760 --> 00:04:39,880 So a conversation with the wife, hey, would you be interested in moving to Canada was the 73 00:04:39,880 --> 00:04:40,880 next thing. 74 00:04:40,880 --> 00:04:46,520 I know, but I'm going to talk about that, which I'm sure we can unpack in a later episode. 75 00:04:46,520 --> 00:04:48,360 Yeah, exactly. 76 00:04:48,360 --> 00:04:50,960 So we made that move. 77 00:04:50,960 --> 00:04:54,440 Now, interestingly enough, we thought we were actually going to England, back to England, 78 00:04:54,440 --> 00:05:00,280 but did a sharp left to the north and stopped in Ottawa. 79 00:05:00,280 --> 00:05:02,080 There we are seven years later. 80 00:05:02,080 --> 00:05:03,080 In snow. 81 00:05:03,080 --> 00:05:04,080 In snow, yes. 82 00:05:04,080 --> 00:05:07,800 Slightly different from LA, but I grew up in Michigan. 83 00:05:07,800 --> 00:05:12,440 So the snow wasn't something foreign to me. 84 00:05:12,440 --> 00:05:16,160 So being in Hollywood and working on various types of pieces, like you mentioned, everything 85 00:05:16,160 --> 00:05:20,920 from movies to the Sim Stens, which of course everybody knows and loves, what is some of 86 00:05:20,920 --> 00:05:26,760 the inspiration that you draw on to kind of bring that Hollywood touch and feel to the 87 00:05:26,760 --> 00:05:29,040 company to Rigo? 88 00:05:29,040 --> 00:05:33,840 Working on those productions, a, from a technical aspect, you bring in what you know to make 89 00:05:33,840 --> 00:05:34,840 the stuff happen. 90 00:05:34,840 --> 00:05:39,960 And it's an ever-evolving thing that you're always learning something new because it is 91 00:05:39,960 --> 00:05:42,800 moving so fast, such as a podcast like now. 92 00:05:42,800 --> 00:05:48,840 I never worked on a podcast, never did a podcast prior to 2024. 93 00:05:48,840 --> 00:05:50,880 So that was a new thing. 94 00:05:50,880 --> 00:05:57,920 And then as far as the automotive styling and how you work on creating that type of content, 95 00:05:57,920 --> 00:06:03,840 I had worked on a few car commercials back in the day and we'd shot stuff at Jaguar Land Rover 96 00:06:03,840 --> 00:06:08,840 on their test tracks and things over the years and in Gaiden in the UK. 97 00:06:08,840 --> 00:06:15,000 So combine that with just other things and how you want looks and feels of things, kind 98 00:06:15,000 --> 00:06:25,280 of like our designer, Elliot Hawkins, he has a very specific way he likes to design the 99 00:06:25,280 --> 00:06:27,600 vehicles and the look he wants to portray. 100 00:06:27,600 --> 00:06:35,800 So that kind of sets the tone for how do we shoot the stuff. 101 00:06:35,800 --> 00:06:37,680 It's better looking than anything out there. 102 00:06:37,680 --> 00:06:42,920 So imagery also has to take that consideration. 103 00:06:42,920 --> 00:06:48,800 Now of course, this is one element that you know with your automotive background is you 104 00:06:48,800 --> 00:06:55,560 get a vehicle and you can't quite talk about everything it does when it's coming out, all 105 00:06:55,560 --> 00:06:56,560 these aspects. 106 00:06:56,560 --> 00:07:00,160 So those are the things that are under the radar until they're allowed to be gone public, 107 00:07:00,160 --> 00:07:01,160 basically. 108 00:07:01,160 --> 00:07:03,800 Yes, until you're allowed to release them and talk about them. 109 00:07:03,800 --> 00:07:08,480 So that's one of those elements that makes it a little more difficult than your average 110 00:07:08,480 --> 00:07:16,680 shoot or how you engage digitally online because you can only disclose that much until it's 111 00:07:16,680 --> 00:07:17,680 ready. 112 00:07:17,680 --> 00:07:22,200 Like when we first launched the AutoDali Tug, there was brief images here and there and 113 00:07:22,200 --> 00:07:25,360 you can't really talk about it because we don't want competition to know what we're 114 00:07:25,360 --> 00:07:26,360 doing. 115 00:07:26,360 --> 00:07:31,760 And then when it's out there, we're kind of under these non-disclosure agreements like 116 00:07:31,760 --> 00:07:34,440 you would in any production to not talk about it. 117 00:07:34,440 --> 00:07:38,960 Most titles of film and television pilots, they create something that has nothing to 118 00:07:38,960 --> 00:07:41,040 do with what they're actually filming. 119 00:07:41,040 --> 00:07:43,880 So no one ends up with a leg up like, oh, we should do that as well. 120 00:07:43,880 --> 00:07:48,080 Yeah, no, I was going to say, speaking of like that design and kind of the look that 121 00:07:48,080 --> 00:07:52,760 Ellie gives the vehicles, you know, a lot of people when the autonomous shuttles are 122 00:07:52,760 --> 00:07:53,760 going out. 123 00:07:53,760 --> 00:07:58,920 I always remember hearing things like they look like a toaster for a couple of, you know, 124 00:07:58,920 --> 00:08:01,600 people competitors in the field basically. 125 00:08:01,600 --> 00:08:06,680 And then ours comes out and it is the most edgy, you know, kind of dark, mysterious and 126 00:08:06,680 --> 00:08:08,640 futuristic looking vehicle, right? 127 00:08:08,640 --> 00:08:12,880 So I have noticed how you've obviously taken those elements and really put in that futuristic 128 00:08:12,880 --> 00:08:18,720 tone into everything from, you know, the website that you've designed to the media pieces that 129 00:08:18,720 --> 00:08:24,040 you have put together and everything has almost that kind of that leg up. 130 00:08:24,040 --> 00:08:28,120 And I feel like, you know, from the get go, it does take that, you know, I was with Toyota 131 00:08:28,120 --> 00:08:34,920 for six or so years working with them and everything you think of

from filming in-house 132 00:08:34,920 --> 00:08:40,760 commercials and filming podcasts and, you know, launches and news and all of these pieces, 133 00:08:40,760 --> 00:08:45,320 the fact that we can do all of that in-house having you on the team. 134 00:08:45,320 --> 00:08:49,320 I think that that's really something that people don't realize, you know, and I'm sure, 135 00:08:49,320 --> 00:08:52,480 you know, no one really realizes what goes into a production. 136 00:08:52,480 --> 00:08:57,160 Even filming this podcast, you know, it takes 30 to 45 minutes to set up. 137 00:08:57,160 --> 00:09:01,880 We're setting up the mic and the background and there is a big box light behind me because 138 00:09:01,880 --> 00:09:03,720 it's just not lit up enough. 139 00:09:03,720 --> 00:09:09,160 And then you're in a separate location and audio and, you know, again, and then piecing 140 00:09:09,160 --> 00:09:10,160 it all together. 141 00:09:10,160 --> 00:09:12,800 And then the fact that you edit it on the, you know, on the flip side. 142 00:09:12,800 --> 00:09:16,280 So not only are you starting it and you're filming it and you're helping to set it up, 143 00:09:16,280 --> 00:09:19,760 you're filming it all together and then pushing out the final product. 144 00:09:19,760 --> 00:09:24,480 So I have to say that's got to be pretty cool that you get to do the full life cycle here 145 00:09:24,480 --> 00:09:28,440 and you really have kind of your freedom to take from your inspiration. 146 00:09:28,440 --> 00:09:34,480 You know, if you were to say, I want a Rigo marketed like X thing, what would that be? 147 00:09:34,480 --> 00:09:38,360 Is there like one specific thing or a couple of pieces that you kind of, again, like take 148 00:09:38,360 --> 00:09:42,680 that look and feel and you feel like they've done a great job and you want to do that too? 149 00:09:42,680 --> 00:09:48,560 You know, there are some and not to stick with UK, but you when you see like a Aston 150 00:09:48,560 --> 00:09:57,800 Martin style ad or or Range Rover, those stylistic choices on their commercials and how they, 151 00:09:57,800 --> 00:10:00,000 how they just still images or anything like that. 152 00:10:00,000 --> 00:10:09,440 They're always, you know, so what's the posh and just elegant and in some cases a little 153 00:10:09,440 --> 00:10:15,600 aggressive with Aston Martin and that's all, you know, whether it's a cue from the styling 154 00:10:15,600 --> 00:10:19,800 and how they're used, you know, because I really love trucks. 155 00:10:19,800 --> 00:10:26,840 I like that aggressiveness, but you know, you can't really market our aviation stuff 156 00:10:26,840 --> 00:10:30,560 like it's a Dodge or, you know, an F-150. 157 00:10:30,560 --> 00:10:36,800 It has to kind of, it has to have a lean more towards, well, you know, obviously aviation, 158 00:10:36,800 --> 00:10:41,760 which, you know, maybe it's more like a, you know, Air Force styling, you know, because 159 00:10:41,760 --> 00:10:49,520 it does have that take on a B2 or a A117 fighters, all the stealth stuff. 160 00:10:49,520 --> 00:10:50,840 It has that look to it. 161 00:10:50,840 --> 00:10:54,880 So a lot of hard corners edging. 162 00:10:54,880 --> 00:10:59,600 And so that's kind of what you lean to because the message of what it looks like versus what 163 00:10:59,600 --> 00:11:04,880 you're doing, there's you got to have this kind of symbiotic relationship and how it 164 00:11:04,880 --> 00:11:10,080 lands with the customer because you have to get the message across because this is pretty 165 00:11:10,080 --> 00:11:18,880 new tech and the fact that we're revolutionizing the aviation airside, you know, that's nothing 166 00:11:18,880 --> 00:11:24,640 anyone's ever seen before, except maybe in movies and, you know, things like that. 167 00:11:24,640 --> 00:11:29,880 So you really have to take a look at how it's delivered and consumed. 168 00:11:29,880 --> 00:11:35,840 So it's a very difficult thing to try and attach to a successful outcome. 169 00:11:35,840 --> 00:11:37,880 It's, you know, you just don't know. 170 00:11:37,880 --> 00:11:43,320 I think one of the key things on having it in house is, you know, from, from a communications 171 00:11:43,320 --> 00:11:48,280 and marketing perspective where kind of my focus lies, you know, oftentimes in past companies, 172 00:11:48,280 --> 00:11:49,280 you're hiring that out. 173 00:11:49,280 --> 00:11:54,080 So you have to find a company, you have to like their style and their branding because 174 00:11:54,080 --> 00:11:56,960 they're only going to do so much on either side of it, right? 175 00:11:56,960 --> 00:12:00,080 Because everybody's known for what they do and then you have to get them up to speed 176 00:12:00,080 --> 00:12:01,400 with the technology. 177 00:12:01,400 --> 00:12:05,160 So the fact that what you just said, you know, we're cutting edge tech, you know, everything 178 00:12:05,160 --> 00:12:11,520 from, you know, being in the automotive space to bringing autonomy to automotive and public 179 00:12:11,520 --> 00:12:17,000 transit through to the aviation space where we're focused now, it really takes a lot to 180 00:12:17,000 --> 00:12:20,840 make somebody understand what these, what these highlights are, you know, everybody 181 00:12:20,840 --> 00:12:24,880 in the autonomous space, of course, they want to know what sensors are being used and you 182 00:12:24,880 --> 00:12:29,560 want to start being able to capture what that looks like from a LiDAR perspective or cameras 183 00:12:29,560 --> 00:12:34,920 or the styling or, you know, just the different ways that it all interacts for this bigger 184 00:12:34,920 --> 00:12:37,640 brainchild to make this vehicle move. 185 00:12:37,640 --> 00:12:41,200 So again, being able to just have somebody in house that's been with a company as long 186 00:12:41,200 --> 00:12:45,040 as you have, you already know everything inside and out and you

don't, it's like you get to 187 00:12:45,040 --> 00:12:50,760 skip an entire storyboarding step almost because you know it and you know the message and it's 188 00:12:50,760 --> 00:12:55,200 some, it's just a lot easier from a comms perspective. 189 00:12:55,200 --> 00:13:03,080 Yeah, and the turnaround on it is far easier, far easier, far quicker, far cheaper than 190 00:13:03,080 --> 00:13:04,520 if you just outsource it. 191 00:13:04,520 --> 00:13:05,520 Yeah. 192 00:13:05,520 --> 00:13:10,440 I mean, I would say easier for me and for like the comms team, probably harder for you 193 00:13:10,440 --> 00:13:14,880 because we just always expect you to push us out these rough edits of things. 194 00:13:14,880 --> 00:13:17,640 And then we're like, okay, let me just look at that and let's change it first. 195 00:13:17,640 --> 00:13:21,000 If we were to outsource you, we'd only have so many edits, right? 196 00:13:21,000 --> 00:13:23,200 Yeah, yeah, it's the thing. 197 00:13:23,200 --> 00:13:27,240 You get two, three changes and then, you know, then you have to start paying again. 198 00:13:27,240 --> 00:13:31,920 So yeah, it definitely helps the company out from that perspective and I get to engage with 199 00:13:31,920 --> 00:13:36,560 Elliot on his, you know, hey, take a look at this and the engineers. 200 00:13:36,560 --> 00:13:39,960 Yeah, and actually really cool trip. 201 00:13:39,960 --> 00:13:45,800 So tell me a little bit about what you recently, maybe not mentioning everywhere specifically 202 00:13:45,800 --> 00:13:48,840 that you went, but you could mention kind of high level because I know some of this stuff 203 00:13:48,840 --> 00:13:50,920 is under the radar coming soon. 204 00:13:50,920 --> 00:13:53,280 But yeah, kind of tell me a little bit about your recent trip. 205 00:13:53,280 --> 00:13:58,560 Yeah, I went to Europe and the UK. 206 00:13:58,560 --> 00:14:01,960 Is that, is that vague enough? 207 00:14:01,960 --> 00:14:07,800 And so I went around to these different locations, the airports all throughout Europe and each 208 00:14:07,800 --> 00:14:11,720 airport deploys the vehicles in a different fashion. 209 00:14:11,720 --> 00:14:19,000 And of course for the, the viewers listening or a little bias there, our Dolly Tug. 210 00:14:19,000 --> 00:14:23,040 So they deploy, they all have their own look. 211 00:14:23,040 --> 00:14:25,320 So their own branding to everything. 212 00:14:25,320 --> 00:14:30,960 So every shot, every video still, it looks different, you know, it's almost just like 213 00:14:30,960 --> 00:14:37,480 a, you know, United Delta, they all do everything, you know, Virgin, they all shoots and have 214 00:14:37,480 --> 00:14:41,240 different looks just because the get go, it just doesn't look like any, you know, the 215 00:14:41,240 --> 00:14:43,160 branding on each airplane. 216 00:14:43,160 --> 00:14:50,120 So when I go around to these locations, we take in consideration, we just shoot within 217 00:14:50,120 --> 00:14:52,400 the confines of what they're doing. 218 00:14:52,400 --> 00:14:57,560 And then we edit, you know, put pieces together when we can release them and then create a 219 00:14:57,560 --> 00:14:58,560 story around it. 220 00:14:58,560 --> 00:15:03,200 And so there's some pretty big storylines coming up here in the near future where you'll 221 00:15:03,200 --> 00:15:08,640 really get a flavor for each airport around the world and how they are deploying the vehicles 222 00:15:08,640 --> 00:15:12,760 and using them, and you'll really be able to see when you start watching and seeing 223 00:15:12,760 --> 00:15:19,080 some of the imagery of how it's, you know, revolutionizing the air sizing. 224 00:15:19,080 --> 00:15:24,800 And it's great to be able to be the one that kind of, you know, convey that message. 225 00:15:24,800 --> 00:15:28,320 So it's really great from that aspect. 226 00:15:28,320 --> 00:15:33,600 So I think that right there is a great spot to kind of end out the episode with all that 227 00:15:33,600 --> 00:15:36,440 nice future upcoming excitement and teasers. 228 00:15:36,440 --> 00:15:39,120 But I will, I have one last question for you. 229 00:15:39,120 --> 00:15:42,400 What is the coolest thing that you've ever worked on today? 230 00:15:42,400 --> 00:15:46,600 It could be professionally, it could be something when you were younger, doesn't really matter, 231 00:15:46,600 --> 00:15:49,080 but what is one of the coolest things you've ever worked on? 232 00:15:49,080 --> 00:15:52,560 One of the coolest things I've ever worked on. 233 00:15:52,560 --> 00:15:57,160 Whether it's like a project, the Simpsons, I know I always like to throw a random question 234 00:15:57,160 --> 00:16:01,040 and I really don't tell anybody that's on the show what that question is going to be, 235 00:16:01,040 --> 00:16:02,040 because I don't want it to be rehearsed. 236 00:16:02,040 --> 00:16:03,520 I want us to just have a conversation. 237 00:16:03,520 --> 00:16:05,000 Yeah, yeah, no, that's a... 238 00:16:05,000 --> 00:16:07,680 Let's see what comes. 239 00:16:07,680 --> 00:16:11,640 You know, I've worked on so many things. 240 00:16:11,640 --> 00:16:14,520 It's hard to nail one down, but you know what? 241 00:16:14,520 --> 00:16:21,160 When we did the making of a movie called Waiting with Ryan Reynolds. 242 00:16:21,160 --> 00:16:22,160 I saw that movie. 243 00:16:22,160 --> 00:16:26,960 It's hilarious and not really inappropriate in some ways, but very funny. 244 00:16:26,960 --> 00:16:31,840 Very, you know, very, very early 2000s. 245 00:16:31,840 --> 00:16:35,960 I mean, dating myself here, yeah, early 2000s. 246 00:16:35,960 --> 00:16:42,000 And it was, you know, the funniest people you can imagine and you're working with... 247 00:16:42,000 --> 00:16:43,000 Ryan Reynolds. 248 00:16:43,000 --> 00:16:45,000 The director of Ryan Reynolds, Robin Kittrick. 249 00:16:45,000 --> 00:16:46,000 Was that that movie? 250 00:16:46,000 --> 00:16:47,000 Yeah. 251 00:16:47,000 --> 00:16:48,760 Justin, was Justin Long in that movie as well? 252 00:16:48,760 --> 00:16:49,760 Justin Long was in that movie as well. 253 00:16:49,760 --> 00:16:53,360 Oh, Tasha's like such a great, like, deadpan understated comedy. 254 00:16:53,360 --> 00:16:58,000 The guy from, I totally forget his name from Anchorman, the cowboy head. 255 00:16:58,000 --> 00:16:59,000 Yeah, yeah. 256 00:16:59,000 --> 00:17:02,760 So, again, we always have future episodes where we dive in a little deeper. 257 00:17:02,760 --> 00:17:07,120 That's our plan at least so that we can get to know all of the employees of ARIGO and 258 00:17:07,120 --> 00:17:10,200 RDM a little bit better and what we're up to. 259 00:17:10,200 --> 00:17:12,560 Thanks so much for sharing your stories and your time. 260 00:17:12,560 --> 00:17:15,600 It's always a pleasure to see everything that you produce. 261 00:17:15,600 --> 00:17:20,680 It really makes ARIGO pop and kind of shows the world who we are on a global scale. 262 00:17:20,680 --> 00:17:22,640 So again, thanks for joining us. 263 00:17:22,640 --> 00:17:23,640 Tune in next week. 264 00:17:23,640 --> 00:17:25,160 Again, we'll have another person... 265 00:17:25,160 --> 00:17:29,440 Well, I should say tune in next week as I'm filming next week, but tune in in two weeks 266 00:17:29,440 --> 00:17:31,440 for another episode. 267 00:17:31,440 --> 00:17:35,720 Every other week on Wednesdays, we're bringing you the latest and greatest stories from our 268 00:17:35,720 --> 00:17:40,880 team and we hope you want to subscribe and like and share our podcast and learn more 269 00:17:40,880 --> 00:17:43,680 about us. 270 00:17:43,680 --> 00:17:48,040 Just a side note before we close out the podcast, the views and opinions shared here are those 271 00:17:48,040 --> 00:17:53,720 of the hosts and the guests do not necessarily reflect ARIGO International PLC or its official 272 00:17:53,720 --> 00:17:54,720 stance. 273 00:17:54,720 --> 00:17:57,360 This podcast is for informational purposes only. 274 00:17:57,360 --> 00:18:01,040 Some forward-looking statements might come up, which are just projections and are subject 275 00:18:01,040 --> 00:18:28,200 to change.