April 28, 2025
Welcome to another episode of Side Quest Sessions! In this session, we dive into the fascinating world of video game creative agencies and explore how they organize and execute successful projects. Here's an inside look at how WAYPOINT, a leading creative agency in the video game industry, manages its operations and ensures client satisfaction. Watch Episode 05 here.
A creative agency specializes in producing creative assets for marketing campaigns, unlike an advertising agency that handles all aspects of a campaign, from strategy to media buying. At WAYPOINT, we focus on three main areas:
Creative: This includes creating video game trailers, packaging design, logos, video game key art, and more. Our team works closely with game companies to develop visually stunning and effective marketing materials. Whether it's a trailer, packaging, or logo design, our creative production team ensures that every asset aligns with the client's vision and market needs.
Collectibles: We design and produce physical items such as influencer kits and collector's editions. These can range from small batches sent to influencers to large-scale productions like a 10,000-unit collector's edition for major game releases. Our collectibles department handles everything from design to assembly and shipping, ensuring each product reaches customers in pristine condition.
E-commerce: We manage the entire online store for video game companies, handling everything from inventory management to tax compliance. For example, we operate the official Konami shop, managing all aspects from start to finish, including customer service and logistics.
At WAYPOINT, each role is crucial for the success of our projects. Some of the key roles include:
The hiring process at WAYPOINT is rigorous and focuses on finding creative talent and individuals who fit well with the company culture. We evaluate portfolios to assess technical skills and creativity. Interviews are conducted to understand candidates' passion for their work and their ability to communicate effectively. Our HR team, led by Lucia, plays a crucial role in qualifying candidates and ensuring they align with our values.
Although we rarely work with freelancers, we occasionally turn to them to cover specific needs or handle overflow work. Collaborating with freelancers allows us to maintain quality and meet deadlines without overburdening our in-house team. Freelancers are often brought in for specialized tasks or when we need additional support for large projects.
WAYPOINT has built its success through years of trial and error, learning from each experience to refine our processes. We are proud of our team and the systems we have developed. Our commitment to continuous improvement drives us to deliver exceptional results for our clients.
Thanks for tuning in to this episode of Side Quest Sessions! If you have comments or suggestions, feel free to leave them below. Don't forget to like and subscribe for more behind-the-scenes content from the video game industry! See you in the next episode about e-commerce.
If you prefer reading here is a full transcription of the episode:
Sean:
All right, hello everybody. Welcome back to Side Quest Sessions, episode five. I'm here with our creative director, Joe. What's going on?
Joe:
Hello everyone.
Sean:
My name's Sean, I am the CEO over here at Waypoint. And as I mentioned, Joe is our creative director.
Waypoint is a company that has just over 50 people working full time, and we've got offices in Los Angeles, where we are right now, as well as in Argentina and the Buenos Aires area. We do three things in no particular order, and those are creative. This is where we work on all the marketing assets for game companies. Could be a trailer, packaging, the logo design, key art, you name it.
The next thing we do is collectibles, and this is where we design and produce physical items. Could be an influencer kit, where we make 50 or 150 of something and mail it out to all the influencers. Could be a collector's edition. We're doing a 10,000 unit collector's edition right at this very moment, which we are wrapping up for a big Japanese company that we are very fond of. And it could be just a one-off item, like a giant statue, or a sword, or whatever it is.
And third, and not least, is e-commerce. This is where we own and operate the entire e-commerce pipeline for a video game company. For example, we handle the Konami shop, or the official Konami shop. And this is where we do everything from start to finish, even the taxes, you name it, we do it all. The next episode is going to be about e-commerce, so check that out in a couple of weeks.
Sean:
All right, so today we're gonna talk about our company in general, more specifically, creative agencies, and what is a creative agency, how's it set up, how does it work, how do we get things done, that kind of stuff.
So I wanted to kick us off with what the difference between a typical advertising agency is, and a creative agency. And so my opinion, an advertising agency is like the full pie chart. And so in that sense, they'll do everything from strategy to media planning, creative, you name it.
Whereas our shop, or at least how we started off, is a creative agency, which is just a slice of that pie. We will handle only the creative aspects, for example, hammering out the marketing assets, like a trailer, for example. What do you think about all that?
Joe:
Yeah, I think that the creative agency focuses on creative production.
So the people actually rolling up their sleeves and making the logo, or making the assets that will then be used in an advertising campaign. There's generally a similar structure, but like you're saying, an advertising agency handles more of the campaign strategy, media buying, seeing it through from launch to finish based on certain performance-based marketing goals.
Sean:
All right, so further to your point, Joe, let's talk about customer interactions and the difference in deliverables between a creative shop and a full advertising agency.
And so those ad agencies have all the various departments that you need to promote or commercialize your product or service. And one of those things is strategy. Another could be media buying or media planning.
And also doing all that research on the target audience and segmenting the different groups. And we don't really do all that, right?
Joe:
Right, so yeah, they have departments, like you're saying, that will specialize in those various areas. But our setup kind of condenses that into fewer roles, I would say.
And in addition, an advertising agency might work with a company like ours for the creative aspect. So sometimes they have an in-house creative department, but sometimes they'll need our expertise to execute on the creative side.
Sean:
Right, it's actually happened in the past where we were hired by an advertising agency to do the creative or the production work.
That happens, doesn't it?
Joe:
Yeah, because we have the artists and the bodies in-house to do something like that, whereas their expertise might lie in strategy or overall vision for the campaign. And the way they get there a lot of the time is by analyzing sales data, analyzing data about the audience that their client might have, and then coming up with a marketing message and copy and everything related. And so we are the experts for one piece of that, which is a pretty exciting piece, the creative side.
Sean:
Yeah, and I'd like to add that they use a lot of buzzwords and hot air often.
Joe:
Yes, true, true.
Sean:
I think what we should talk about next is the different roles in our companies and who works on what, how they do it, in what order and that kind of stuff.
So let's kick it off with one of the first roles, the one that's close to my heart is the business development role. And so our goal here is to get customers. We go out and kind of like hunting a dragon, we go out there and hunt the dragon, we bring the dragon back and then the little village chops them all up and makes great furniture out of them.
And so business development has a lot to do with fishing. And so we'll go out and send emails, we'll call people, we'll go to conferences and meet up there and we'll try to tell everybody about what it is that we do and that kind of thing. And eventually we'll get what's called a lead or a hot prospect or somebody who's interested in what we do.
These days, after 15 years, it's a lot of people that know us already and they reach out directly to us, but we still do some of that business development. And so when somebody finally shows an interest, the first thing we'll do is set up a phone call, have a meeting with them, usually a video conference type meeting. We'll hear about what it is that they want, we'll make it a point to tell them not only what they're asking for but tell them about all our services.
And I'd say 50% of the time somebody says, oh, you guys do e-commerce too and we can kind of drum something up in that way as well.
Joe:
Yeah, so to your point about going out and getting the business, that book you lent me, Creativity Inc, Ed Catmull actually calls it Feeding the Beast. So it's an important part of the process.
And I think it's great we finally get on the line with the client, we share our experiences, we share our expertise and then take it a step further. And the reason why we have team members there who have worked on these types of projects is because then we can analyze, put together a scope of work for them and kind of give them a little personalized pitch or deliver something specific to what they're trying to achieve that helps them understand how we could solve their problem.
Sean:
All right, so let's pretend that goes off without a hitch.
Everybody's interested and they want whatever it is that they want. What's gonna happen next? And I think that's a nice segue into another role in our company. And so we started off with the beast feeding role, which is business development.
And now we're moving on to, I think maybe your role, which is the role of a creative director. And there's other roles which we'll talk about in a second. But you mentioned receiving the information and hearing about it. But the next step is really coming up with a proposal for what they want, right?
Joe:
Exactly, so an important step there is digesting the client brief or trying to piece it together from the information that they come to us with and understanding what their goals are, processing the information and turning that into sort of a scope of work on one hand, which encompasses everything that needs to be executed on the project, but also an internal creative brief that we can give to the team so it can be handed off to all the people working on the project and they understand clearly what they need to do. So, yeah.
Sean:
Great, so that's not, our process isn't really linear in the sense that it's not the dev guy first, the creative director second and so on. Those roles play different function all along the cycle of getting a project completed. We'll do our best to keep it in chronological order, but you intervene at the beginning and the middle and the end and even after sometimes. And so the next role that comes to mind is the producer for me.
And so producer for me is if a project manager and an art director had a baby, that would be one of our producers. What do you say about producer?
Joe:
Yeah, that's a great description.
And we introduce them early in the process so that the client has this point of contact because on the one hand, the producer plays the role of the account manager and project manager. And on the other hand, they have a very creative role so they need to understand a lot about the different types of things that we do and how to get it done because they're going to manage the internal creative team to execute and then also be talking to the client over email, over phone calls, over meetings, providing check-ins and updates, making a timeline, all of that's under the producer role. So, yeah.
Sean:
Right. I think it took us many years to figure out how to define that role and then hire for it and then train and so on. And one of the main things, and we'll get into the HR thing in a bit but is that we would never put somebody in the role of a producer if he didn't have the technical skill and talent and that skill, for example, graphic design.
Joe:
Very true.
Sean:
You couldn't just be a project manager if you were a producer over here at Waypoint.
Joe:
I completely agree with that.
And there is a ton of skill, the project management, and there's a lot of nuances playing that role. But we really think, and we tend to value the creative side, like you're saying, because that way we can have them specialize on those projects that they're good at, like graphic design or video production or web development. And software, whatever they sort of feel comfortable with.
But this role is really special to me and I'm super proud of our team because it's a Swiss army knife role that takes a long time to polish and sharpen your skills in. And you're basically have a great business sense, you know how to do cost sheets, you know how to communicate clearly and professionally, but you're also every day waking up and bringing that creative side too and an expertise like you're saying. So it's hard to find people like that and people willing to learn to develop the side of the skill maybe they don't have to start with. But our team has done a great job and I'm super proud that they're such well-developed producers that just can rock it on every project.
Sean:
Yeah, I think there's five or six of those roles. I'm gonna try to name them here, but we've got, they're not all strictly producers, but they play the role of a producer.
There's Martin, who's our head of creative, but also is in a sense a very senior producer. We've got Ivan and Joaquin are both producers. For a specific account we have, we have two others, Alex and Martin Anapios.
And those two are producers on strictly creative services like graphic design or video.
Joe:
Catalina as well.
Sean:
And thank you, on the e-commerce side, we have Catalina, exactly.
So those are all of our frontline soldiers when it comes to getting stuff done, the producers. And they all have a specific talent or some experience and it really makes them a great team. They're shock troops.
Very good. So after the producers, we can come down to where it gets really on the creative side. And I think those have to do with the artists that we have on our team.
And we have different types of artists and different levels of artists. The first that come to mind are three people in our team and we call them leads or art leads. So what does an art lead do?
Joe:
An art lead is this Franco and Emiliano?
Sean:
Yeah.
Joe:
And everyone, okay.
Sean:
And Dante, Franco, Emiliano, and Dante.
Joe:
Yeah, so an art lead, I guess, plays a bit of an art director role, but mostly leads their pot.It's like another sort of mini leadership role in the creative team. And their roles are mainly process and planning and quality assurance. So they wanna make sure everyone's being a team player.They're helping assign the various subtasks within a project and making sure that the work delivered is quality and meeting our standards.
Sean:
Right on. And we get a lot of those folks sometimes straight out of school and we train them and they end up turning into really high performers after maybe a year or so.
We've got some really nice success stories.
Joe:
Yeah, this goes along with the technical skills that you're saying. This is the department in areas where technical skills really matter. And we got people from art school who are really curious to learn and trying to expand their knowledge base on software programs and techniques. And these are the people always watching tutorials on YouTube and just like hungry for knowledge and to be better artists overall. That's kind of why they're seeking that knowledge. So it's really great to be able to work with people who are super passionate about whatever technical art skill they're pursuing. ,
Sean:
Right on. Shout out to you guys.
We did a company retreat in Berlin in October of 2023. And we brought three of them over there just because we value them so much and you guys are awesome. And so after the art leads and then we have artists. And so this could be a graphic designer, a video editor, a motion designer, a web developer. What else do we have? An illustrator, sound designer, 3D modeler, 3D animator.
Joe:
Yeah, extra artists. I think you covered most of them.
Sean:
Thank you. Yeah, so we got a whole bunch of those folks in house and they work on all kinds of projects.
And so what do you think about those guys and how do they approach their work and what kind of stuff do they do and how do they get it done?
Joe:
So a lot of the times their role is to be creative, which is awesome. So they'll work with the producer and the art leads, like you were saying, to understand what the project is, what we're looking to do. And then the first step of that usually is to give options, right? We like them to experiment, do their own interpretation, listen to the guidance of their peers and give us sort of, boom, here's a first attempt, like just something to get the ball rolling and get the discussion started.
So a lot of their day tends, after the initial kind of work is done and they give us a concept or proposal, a lot of their day is spent discussing with the producer and talking about feedback, right? And polishing to get to the finished product. So there's several deliverables that'll happen over the course of a project. They're responsible for producing those deliverables and then taking into consideration any feedback that we receive and making alterations until it's ready.
Sean:
We've got other roles too that operate behind the scenes. And I think it's worth mentioning them because they've, since bringing those roles on, they've improved our quality of life considerably, in my opinion. And so those are more on the administrative side. And so if people that handle stuff like accounts receivable, accounts payable, accounting, bookkeeping, reminding everybody to check all these administrative boxes that we have to go through. We've got a wonderful lady in China who helps us work directly with factories. And so we call her a sourcing manager and her job is to interface with the factories and with us and our team. And so there's several benefits to that and maybe you could rattle off a few.
Joe:
Yeah, so sourcing manager, definitely an essential role. We usually are able to use this person to handle requests for mass production, right? If we're gonna mass produce an item overseas. And so we'll be able to figure out what materials will be used, what the quantities are, what pricing looks like at various quantities and having someone who's able to interpret our very kind of artistic way of talking and like, we're concerned about the colors and we're concerned about the way the hair looks on certain, a figurine or something. She's able to take that, have a discussion with us because she's bilingual, which is awesome. And then bring that back to the factory and explain maybe the reasons behind why we need something to be so perfect, right? So that really helps on the quality side and it helps just maintain a great relationship with any factories or any people we're working with to produce an item, so yeah.
Sean:
Yeah, having a person like that full time on our team for a little while now, made a big difference on all those things, but also we can actually have somebody that's on our side that can go physically into the location where the items are being produced and check everything out and look over everybody's shoulder and have a peek and do some random inspections and that really saves us a lot of trouble and nasty surprises. Yeah. So after sourcing, I'm thinking of others.
On the e-commerce side, we've got a person who's in charge of doing all of the reports. And so when we sell lots of stuff, thousands and thousands of items in a month, we need to generate reports for inventory or if we're paying a royalty to whoever the licensor is. And that's a pretty important role because it gets really tricky and there's a lot going on behind the scenes when you're running a shop. And so we have people that are in charge of that kind of stuff. And what else do we have? We've got, we have a social media manager now and so for our own social media, which is in large part why we're doing these videos. And so we've got somebody handling.
Joe:
It's been a long time in the making, but we finally have a presence.
Sean:
Yeah, it only took 15 years. And so we finally got that going. And then we've got somebody that works in HR and this person helps us find new people, right?
Joe:
Yeah, exactly. So finding portfolios, scouting for students out of art school or experienced project manager type people, whatever it might be, setting up meetings and helping us meet talent and figure out if they're right for the team.
Sean:
All right, Joe, let's talk about some of the key success factors for Shop Like Ours.
The first one, which is one we mention all the time is that we're specialized or focused entirely on the video game industry. We don't really do anything else. We can go out to other entertainment fields occasionally, but it's 99% of the time video games. That's what we do. So that means we have a deep set understanding of the video game world, not only the industry, but also the games themselves. You and I both play video games on a regular basis and so do most of the other people in our company. And we have a passion for it. We go to the festivals, we go to the conferences, we participate in all kinds. We were just at the Summer Game Fest and we also did IGN Live, all this just a couple of weeks ago. And that really helps everybody stay on top of what's going on and what's trending and what's cool and what everybody else is doing too. So do you think that being focused on games and being passionate about games has made a big difference?
Joe:
Yeah, absolutely. I think it's a really exciting industry. So it's fun to follow. I followed it before we even started working together and grew up playing games. So I definitely think that background and understanding what fandom is and how people react to certain things and announcements and companies and what a big impact they've had in so many people's lives. It's really important to be a part of that.
Sean:
Right on. One of the things I've identified as a key success factor is our creative vision. And that's something that can be a little bit ambiguous at some times when you try to talk about it or describe it. But I've noticed that customers who come from another agency to ours often are dissatisfied or struggle with this. A lot of people want to be told what to do. And in our case, it's the other way around. We have to get this brief. We have to have a clear vision of what we want to do, how we're going to do it, what we want it to look like. And so I think having a really strong creative vision is one of the factors for success. What do you say?
Joe:
Yeah, I think so. And when you say creative vision, are you talking about us driving the creative for a client?
Sean:
Exactly.
Joe:
Yeah, so I think we definitely have it all the time and we will present what we're feeling and what we want to roll with. It's not always the thing that gets picked, but I think being able to go up to bat every time and try to swing for the fences is really important. So that creativity is something that everyone on our team has and we want to see it every time for a project. So, yeah.
Sean:
Right on. And the next one I thought of was effective strategy and planning.
And so this relates to all our projects, but I think really specifically to the collectibles department where we need to have a plan of how we're gonna approach things and also have a really clear cut schedule and maybe follow that schedule strictly or force everybody to follow it strictly. And what do you think about that third factor?
Joe:
Right, so this goes along with what you're saying about sort of being able to drive the client and get the things we need when we need them to make sure everything goes smoothly. Sometimes we have to be in the driver's seat in order to do that. So creatively, maybe they don't have any ideas or don't know what they want. So it's our job to put it in front of them. And then on the planning side as well, we know the process, we've been through it before. And so we're able to explain that process, do a little bit of handholding when necessary, and then sort of be in charge of being like, hey, we want this to be on time. We need to get X, Y, Z done by this date and reminding. And I think we do it in a totally friendly way. It's part of just our job and the way kind of the process works, but it's important to be able to be firm when you need to and show that you have confidence doing what you're doing. So the client feels comfortable and wants to understand their role in getting stuff done.
Sean:
Yeah, makes sense. And thank goodness for that, let me say.
And so number four that I came up with was having a skilled and talented team, retaining that team and also not letting anybody that doesn't fit into that description stay in our team. And so the team has been pretty stable for a while now, but the first half of our life, it wasn't. There's people coming and going nonstop and that's kind of, that's stopped now. It's halted and we've got a great team and everybody in our group fits the bit. And I think they're doing a fine job and working together and so on. And so finding those people and retaining them, what do you say about that?
Joe:
Yeah, I think right now we have a great energy and ethos within the team. And generally from my experience, like-minded people tend to find each other and stick together. So if the work environment is engaging and everyone's having a good time and everyone has a respect for the quality of what we're doing and wants to work hard, that sort of, there's a mutual respect there between everyone and it makes working really enjoyable. So I think that's why we found a group of those people that have good synergy and that's why they're sticking around.
Sean:
The fifth one I came up with, and I'll ask you if you can think of one yourself and it's okay if you can't, but is having strong client relationships. And so that goes on all different kinds of angles in the sense that sure, there's the business development part where you're reaching out to people and showing that you're competent and an expert and that kind of stuff. And there's also another part, which is these customers we've had some for over 10 years. It's not just, we're sure we go to lunch and make sure we stay in touch and keep up with each other, but it's also on the work side too, how we consistently deliver, we're always available for them. How do you ensure that our customers keep coming back?
Joe:
Yeah, I think like you said, being always available and showing that you care a lot, sending that late night email when something's important, not checking out on them, not keeping them in the dark, just showing that you care goes such a long way in having a great working relationship with your clients. So for me, that's the most important one.
Sean:
One of our slogans, at least one of mine, was to never make the customers look bad in front of their boss or their other partners and so on. And so when you have that in mind, to send out a deliverable that's not up to snuff or to be late on a deliverable, it's sure we feel bad about it, but it also, we drop the ball vis-a-vis our customers and that in turn makes them look bad. And so there's probably no better way to get fired as an agency if you make your customers look bad, right?
Joe:
Right, and for me personally, I don't think of it as, oh, it's gonna be bad on the agency's reputation. I'm concerned about the way that our clients are perceived and that all of their projects are a success. So it has a close place to my heart and we really care and that's important.
Sean:
Is there anything that you can think of, no pressure, that makes it really a key success factor?
Joe:
I would say a desire and willingness to learn and continue learning. So this should be at the top in business development and people directing things should be learning new techniques to set up systems, new strategies, new tools to use during production to manage the projects all the way down to someone who only does one specific technical skill. They should be learning about what the latest software that came out is or a new technique to get a cool effect that they've been after. I think that hungriness is really important and will help you stay ahead of the curve and just always ready for whatever the future projects that you're gonna get on.
Sean:
Right on. So I've got two examples that happened this week and last week and you can maybe tell us a bit about them. So the first keyword is free forwarding. And I noticed that you yourself had to do some learning and we're working on a big project with lots of logistics and the idea of getting products from one place to another or one place to multiple other places is trickier than you'd think and then we tried to solve that by simply hiring a free forwarder whose job is to do that but nonetheless it seems like we still need to get involved pretty heavily. What do you think?
Joe:
Yeah and I think that that was a good learning experience just having an understanding of the parties involved and also a lot of times you need to really stick your nose in something and understand more details before you can make a decision about it.
Sean:
All right that's a good logistics example where you personally had to do some learning and there's another thing that happened about last week where we had a customer that said we need to create in-game animations for our game which is developed in Unity. And so this is similar to making a video in a sense with the final outcome where there's images moving on a screen but this is to be done within the game engine Unity and so we have some experience working with Unreal and on the video side we've got a lot and some experience working in Unity but not that much and so we told the 3D team if I'm not mistaken that hey haven't you guys ever done this and everybody said no and then what happened?
Joe:
And then yeah we learned basically and we got some awesome results and tests that we've already done for that. So it's definitely possible. We don't want to rule anything out and like you said we have existing experience working in game engine so it's not crazy to think that we can figure it out with a week of research and experimenting.
Sean:
All right Joe the next thing I want to talk about is how we find all these great people. So recruiting or HR or that subject. So we've got a bunch of folks on the team like I said there's over 50 of them and some of them have been promoted. Some of them were senior when we hired them. Some of them are fresh out of school. So can you tell us a bit about the hiring and scouting process over here at Waypoint?
Joe:
So as we go on and work through the months and years we're always kind of trying to identify gaps in our system or places that we need to improve. So the first step is sort of identifying what could use improvement and what it is we're looking for and then we'll work with the HR department to come up with a really specific and great and exciting sounding job description to try to get people fired up and hopefully the talent comes to us but a lot of the time we have to seek it out. So we have our HR department and we have our department head as well sort of scouting and reviewing portfolios and so for us I'd say on the creative side especially the number one thing is talent like what this person brings to the table creatively and so portfolio is the most important kind of thing that you can present to review and that's what we're looking at. Doesn't necessarily matter where you've been or where you come from or formal training but if you can deliver what it is we're looking for that holds the most weight sort of and when we're considering adding someone to the team. And then also on top of that sort of communication and being able to have a meeting with this person. So we'll conduct an interview, sometimes several interviews, get to know the person and see if they fit with our company energy, what we're about and how we operate and how we communicate. And if there's a really good sort of chemistry there, then we'll move on to the next steps of making it official.
Sean:
Very good. And we have a process of interviews, which is pretty, pretty informal in that sense, but usually our HR person, her name's Lucia, she will qualify those people first, she'll have a first interview to get all the basics out of the way. And after that, there'll be a meeting with whoever's the head of the department or maybe the art lead of that specific department along with you. And you're usually present at most of the interviews, right.
Joe:
Yeah. And sometimes we'll have them go through their portfolio, tell us about their work, tell us about why they're passionate about what it is they want to do and where they want their career to go. It's important to understand all that stuff and understand the type of person that you're going to be working with. So I would say in addition to the portfolio, like I mentioned earlier, another big thing is just the energy they bring to that call and helps me get a feel for how it would be working with them. Daily. And that is very, very important. Like before I started sort of like being a part of this hiring process, I never understood just how much a person's energy and the way they talk and the way they like show how they care about what they're working on matters for just everyday working together. And it really does.
Sean:
Yeah.
Let's talk about freelancers. We, we occasionally, but I'd even say rarely work with freelancers and by freelancer, I mean, the person who doesn't work exclusively for us in a full time capacity. And so every time we find that there's a gap in our human resources, for example, we need to have a certain skill. Maybe we need an illustrator that's specialized in sci-fi, you know, that could be really narrow and specific, and we might have an illustrator or two or more on board already, but we don't have that exact skill. We could search in our existing pool of contacts or even go out in the wild and try to find a freelancer. And so what's the last experience you had working with a freelancer? Hit me with it.
Joe:
Um, last experience with a freelancer was for a trailer that we made and we had a giant list of cut downs that we needed to make for different platforms, different links, and they were going to be used in different ways. And this freelancer stepped in, took the source files and was able to help make those cut downs and short edits, uh, really quickly. And so, yeah, it was in the motion graphics department.
Sean:
So an overflow kind of a situation where there's too much to do. All right.
Joe:
Right.
Sean:
Thank you, Joe. Another great episode. It's nice for us to talk about what we do and to show the world. And in this one to talk about how we've built this company over the last 15 years, um, through a trial and error, let me tell you, and to kind of set the, set the scene for how we're set up and, and I'm quite proud of us and I think we're doing a fine job there, but there's still a lot more to go and I know we can keep getting better.
Joe:
Definitely. Yeah. This is a great refresher on all of our processes and how everything's supposed to work. And like you said, trial and error helps us polish and improve those, those things.
Sean:
Right on. Well, thanks again. All right, everybody. Nice chatting with Joe in front of you. Hope you enjoyed the episode. If you guys have any comments or anything else you'd like to see or done differently or a subject, let us know. Please drop us a like and subscribe if you want and check out the next episode should be about e-commerce. And if you want to learn more about our company, you can check us out at waypoint.la. See ya.
