DOUBLE D FESTNIGHT SERVICE
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THE CARDFOUR THAT MATTER · FOUR BONUS
Tap to log with a timestamp. Orange edge = do not leave without it. Everything else is bonus.
If you only get four things, get the first four. Same spot before and after, the clean line, and Drew talking. That is a real piece of content. Everything under it is gravy.
THE PROMOTWELVE QUESTIONS
Purple line under each one is what to tell Drew before he answers. Read it to him. It takes ten seconds and it doubles the quality of the take.
Before you leave Vegas: record ten seconds and play it back. Not a meter check — actual playback. Mic failures are silent and stupid.
READ THIS TO DREW ONCE, UP FRONT
1 · Swallow the question. Don’t say “yeah, so…” — start with a full sentence that contains the question, because mine gets cut out. Not “because nobody’s there.” Instead: “We work overnight because our customers can’t close.”
2 · Two or three sentences, then stop. If you feel like you’re rambling, you are. Stop and I’ll ask again.
3 · Say it twice. The second take is always better and it costs nothing. I’ll just say “again.”
4 · Specifics, not adjectives. Not “it gets real bad.” Say what it is — grease, gum, tire rubber, algae — and how long it took to get that way.
5 · Talk to me, not the lens. Look at my face. If you stumble, pause and start the sentence over — don’t apologize, I can cut it.
6 · Don’t clean up the drawl. The Kentucky is the whole thing. If you start sounding like a brochure I’m going to ask you about home until you knock it off.
VO LINES
Most of our customers can't shut down so we can clean. So we come when their customers aren't here.
My customers shouldn't have to wonder whether something got done. If I say we're handling it tonight, it's handled tonight.
THE POSTWHAT ACTUALLY TRAVELS
Two different audiences. Shoot for both, edit them separately. Never mix them in one video.
SIDE A — THE SATISFYING ONES
| THE LINE | Surface cleaner making one clean stripe through filth. Phone six to twelve inches off the ground, lens just ahead of the machine, frame half black half new. Walk backward at the machine’s pace. Lock focus before you start or it will hunt in the dark. This is the single most watchable thing you will shoot all night. |
| THE PUSH | Slow walk toward a grease-caked dumpster pad, phone at chest height, then hard cut to the same push on it clean. Same speed, same path, same start and end point. Tape your start mark. |
| THE PEEL | Macro on gum or a tar spot releasing. Phone six inches away, brace against something solid. Shoot 4K60 so you can slow it down. |
| THE SHEET | Water sheeting off a slope, backlit by the work light so it glows. Light behind the water, camera on the other side. |
| THE RUNOFF | Black filthy water running toward the drain. Camera on the ground at the edge of the stream. Ugly and great. |
| THE JAR | Fill a clear jar with runoff, hold it against the work light. One shot, three seconds, no explanation needed. |
| STEAM | Backlight it. Work light low and behind Drew, camera facing into it. Silhouette plus glowing steam is the whole shot. |
SIDE B — THE ONES THAT BOOK JOBS
| MATCHED WIDE | The most valuable shot of the night. Tripod, tape the feet, shoot the dirty lot. Do not move the tripod. Shoot the clean lot from the identical spot at the end. Boring, lit, obvious. A facilities manager wants proof, not spectacle. |
| THE SCOPE | Slow pan across the whole finished area. Sells scale — that he can handle a property, not a patch. |
| THE WALK | Drew walking the finished surface, checking, pointing out a trouble spot. Lav mic on. This one doubles as the video he texts every prospect. |
| THE ARRIVAL | Truck and trailer pulling into a dark empty lot, headlights sweeping. Camera low and static. Says “he showed up at 1am so you didn’t have to close.” |
| THE HANDS | Close on Drew’s hands working — adjusting the wand, coiling hose. Competence reads through hands. |
| TIME-LAPSE | Phone on the tripod, highest safe vantage, running the whole job. Compresses four hours into eight seconds. Highest-performing format in the trade. |
SETUP — DO THIS BEFORE YOU SHOOT ANYTHING
| 1 | 4K 60fps. Set it in the truck, not in the dark. Gives you room to slow anything down later. |
| 2 | Lock exposure and focus. Long-press to AE/AF lock on every shot. Autofocus hunts constantly at night and will ruin more takes than anything else. |
| 3 | Never pinch to zoom. Walk closer. Digital zoom is just cropping. |
| 4 | Tape the tripod feet. Painter’s tape, three marks. This is the entire secret to a before/after that lands. |
| 5 | Light from the side or behind, never from the camera. Front light flattens wet concrete into nothing. Side light shows texture. Back light shows steam and water. |
| 6 | Wipe the lens between every shot. Overspray is invisible on a phone screen at night and obvious on a laptop tomorrow. |
| 7 | Mic on Drew before the first word. Windscreen on. Test it once with the machine running. |
| 8 | Hold every shot eight seconds. Longer than feels right. You cannot add length in the edit. |
| 9 | Shoot the boring wide first, every time. If the night falls apart you still have the before. |
THE WEIGH-INDO NOT LEAVE WITHOUT THESE
Twelve items. The first one decides whether the rest of the night happens.
HARD GATE. Text Drew: does your agreement with this client cover photo/video on site and advertising use? Architecture and drive-thru layout identify a brand even without signage. If the answer is soft — shoot tight only. Surfaces, equipment, hands, water, Drew. No establishing wides.
WATCH THE BACKGROUND
License plates · employees leaving · delivery drivers · faces · uniforms · POS and menu screens · security panels. No logo is not the same as anonymous.