Rob: Thanks so much, Tim, for joining us on the podcast. It's really great to have you here.
Tim: It's great to be here.
Rob: Thank you. Or there. As you know, we're still getting used to this whole talking remotely thing aren't we?
Tim: Indeed, exactly.
Rob: Nah it's all good. So, the reason that we wanted to have a bit of a chat is you actually have your own TV show that you produce called Snap Happy, the photography show, which is on Channel 10. And now in its fifth season or five seasons completed.
Tim: We've just completed our fifth season and we were about to kick off on the six and yeah,
Rob: And Covid happened.
Tim: Covid-19 happened.
Rob: Nah, that's cool. We'll circle back to the show in a little bit. But what I'd really love to know about is just a little bit of your history and you know how you got into TV. I understand you did some training in that sort of thing, can you give us a bit of a, bit of a rundown on, you know, the history of Tim Robinson?
Tim: Sure. The brief history of Tim Robinson. Well, I've always kind of known that I wanted to be on TV. And I think that started from an early age with my dad doing a stint in television. So I was around a bit of production here and there and at the time. The school I went to was a new school. It was a technology high school. Panasonic donated two cameras and an edit suite, and no one else knew what to do with it. I didn't know what to do with it either . But I was interested and the AV guy gave me a key to the room. So I was in there, you know, every second afternoon working on little videos and whatnot. So from there, I just kind of had it in my head that that's what I was going to do. And out a school, studied, got an entry level job at Channel seven, was there for about five years until I decided it was time to go freelance.
Rob: Cool. So those early days, obviously, when you were mucking around in the editing suite, they they probably had no real hard intentions or anything like that. But how pivotal were they for sort of setting you on this course?
Tim: Yeah, look, really pivotal. I mean, I think just having those opportunities, I think early on really cemented that for me. And having and having someone other than family that was doing it at school, there was a guy who I mean, he was an English teacher and but he was really passionate about making videos. So. So we did a lot of video production as part of our English studies and that kind of thing. And we won an award with our first film that we did. So that was something like that acknowledgement early on really gave me that kind of drive to to pursue it a little bit more. So I think that was I think it was really pivotal. I mean, that's really the beginning of my journey. That's that kind of hasn't stopped.
Rob: I mean, you really are a storyteller at heart. I can tell. And, you know, it was it was it's sort of more on the technical side that you were picking up on early on, or was it really just unleashing that storytelling ability that you've got?
Tim: Yeah. Look at it total both. You know, I'm a massive nerd. I love technical stuff. Always been into film and drama and video and theater and things like that. So I do enjoy a good story. I like telling a story. But I also love, love the technical stuff, you know, like I've got. That's just a small collection of my cameras sitting up there. I tend to hoard hoard things and just I just enjoy the technology, enjoy experiencing that, but telling us, you know, obviously telling the stories as well as love. I love writing. And and that kind of thing as well.
Rob: And because I mean, the technology is just so instrumental to, you know, bringing out that creativity as well. When I was a boy, we used to edit on VHS and we'd like, you know, press pause and, you know, had our old analog switcher to try and muck around with things as well. But I mean, how much has technology enabled you to, you know, bring that out?
Tim: Big time, man. I mean, things have changed so much. You know, when I made my first little film, that was in 1992. And like you say, I think we were using a VHS C camera and then cutting reel to reel. And, you know, the challenges were that there wasn't stuff at your fingertips like there is now. I mean, now, you know, this is a very capable, you know, video production unit right here. You can cut. You can shoot. You can edit. You can publish. Everything's right there. And so it's just so in terms of that, you know, things is real opportunities now. I mean, in a sense, for people getting into it now, it is probably more difficult because it's more challenging to be seen and be heard because everyone's got access to the technology. So you really do have to be creative and and just, you know, do something that that sets you ahead, I suppose, in that way.
Rob: And so it's an interesting point you make, because pretty much anyone can become a content creator. And the tools that we used to use, say, 20 or 30 years ago, you know, as you say, we've got this basically in our phones, even the editing capability. You know, you can have something edited, and out and tracked and titled in a matter of seconds. So obviously, people tend to go down a social media, you know, YouTube channel kind of route. Was was did you intentionally create something for networks like did you have a goal to get something on a main, like a mainstream network?
Tim: So, yeah, I suppose going into television, you know, for a lot of people, that's the end game is, you know, getting into a into a job where. Yeah. Where you find your passion. And so if that's telling stories and making production, I suppose you you'd like to be a director or producer of your own show. So I think that was early on. That was probably something that I've was wanting to do. But then I didn't necessarily have the the end game of being, you know, at a TV network, you know, producing. I think I've I think the technical term is I've got ants in my pants and I always want to do something new and something different and something exciting. And if I sit on something for too long, I tend to get a little bit a little bit bored. I suppose so. So there's certain advantages to to kind of running your own production because you can kind of take it in whatever direction that you want to see it. And, you know, there's the sky's the limit in terms of what you can actually do. If you want to then branch out and do something else, you can do that. And, you know, it's all just a matter of, you know, how many hours there are in the day kind of thing.
Rob: Yeah, absolutely. I mean, it's all just about how we put those hours to use. So in terms of coming up with when you when you first started to create work on your own, I understand that there was a documentary that you created in 2013. And can you tell us a little bit about that and how that came about?
Tim: Yeah, well, actually, there was the first feature length documentary I did I produced in 2010. And where that came from when I went freelance. One of my big client base is working with international mission and aid organisations. So we will tell the stories of people, downtrodden people, people in poverty, people with disability and that kind of thing. So what I was doing for these clients was essentially producing small packaged five minute, let's say, videos showing telling someone story telling, you know, telling people how the organisations responding to that. And so I really enjoyed doing this. And it kind of it's taken me all over the world. But the frustration I had in the back of my mind was A maybe it was that I wasn't telling the story. I was working with other producers and that kind of thing. But B, I was only telling a very short form story. And I really like to tell, you know, delve a little bit deeper. And so that's kind of what essentially drove me to doing a feature length. I ended up being, I think, a 52 minute kind of package for TV. Yeah. And and so we told the the long form story of of something that was close to my heart, which was poverty, people with disability living in poverty. So we did a story that kind of paralleled an Australian story with a story of a family in a third world country. And we just looked at the parallel themes about things like community support, family support, just the everyday challenges and triumphs of someone in that in that situation.
Tim: So that was I mean, for me, that was immensely rewarding because we were able to tell a long form story. And, you know, kind of make people aware of of a few things that they may not have been aware of. So that project, whilst it didn't have a particular you know, it wasn't commissioned. It was it was privately made with me and another producer. And so I guess at the end of the day, we thought, oh, yeah, we'd like to see it on broadcast television. But this is my first kind of pitch to try and get something on air that I had self produced. And in the end, we didn't get it on air we we failed in our attempts to get to to get it through a network. So that was a little disappointing. But we ended up actually taking it to doing some cinema runs with it. So we we played it and we did a big launch in Sydney, in Melbourne and in Queensland, where one of the stories was told. And then we also took the film over to Thailand and into a jungle village where we shot the other side of the story and we took a projector and a and a screen and and we travelled around the village and and showed different groups that that was I mean, that was just fun. I mean, that was
Rob: That's pretty amazing.
Tim: More than anything else. Yeah. And just showing that, I mean, this little village never had cinema like in the community space. And we were showing them cinema with themselves in it. So it was just quite a surreal experience for all of us.
Rob: And as much as there was obviously disappointment not selling it to a network as it intended. How do you think if you did, you would have still had that experience of showing it in remote villages? And, you know, how rewarding was that experience? By contrast.
Tim: Yeah, look, I mean, I think in terms of having it on TV, that would have just probably bit more just been an ego thing for myself. I think maybe essentially I think we would have still done the you know, we would have still taken it around and spruiked it in any way that we could have. I mean, it's one thing to create, but it's another thing to have people enjoy your creations. And so in that sense, the fact that we could attend these screenings, you know you know, people people sit watching the screen like this. I tended to sit looking at people and seeing their reactions to the film. I'd much rather just sit at my chair up the front and look at other people in the cinema. So and being able to do that, we we were able to do. Q and A's and meet and greet and do all that kind of thing, which was just another really cool part of the process for us.
Rob: So was there a sort of a side awareness that you were trying to generate by doing this in the first place, or was it really just from a pure creative perspective?
Tim: Oh, look, absolutely. I mean, I've always had a bit of a heart for social justice. And that kind of thing. So I feel that everything I do. I wanted to have a significant purpose. I mean, something to do might be the significant purpose, might be that you putting food on the table and earning a few dollars. But essentially, you know, my major projects and the thing that I'm spending my time on, I actually want to I want to be able to make a difference, even even if that's just in a small way.
Rob: So if we fast forward a sort of, say, five years to the start of snap happy, how would you say this? You know, obviously you've learned some things by not having a project picked up, even though that project, you know, you'd poured your blood, sweat and tears and extremely passionate about it. How did you approach this in a slightly different way in order to try and lock that support in? Did you have to make concessions or did you just have more experience and could approach it differently?
Tim: Yeah. Look, I think the experience goes a long way in between that documentary and and getting snap happy off the ground, I, I actually I worked on a TV series about motorcycling which ran for six, six seasons. And so I was quite my role in the production was shooting, editing, directing. So essentially I was working with a with a producer. And so so with this project we actually started with a pilot was made by the time I met these guys. And then we spruiked the pilot and we got it on community television. So TV, yes. Was kind of the first place where I, I had my own program that was broadcast. And from there we were we were able to get it across to Channel Ten and Channel Seven in the end. But having said that, this wasn't I wasn't producing this show. It wasn't my own show. I mean, I was very, very involved creatively and and all that. But with the snap happy, I think that whole progression was what helped me get snap happy in the end of the ground, which was which was my, you know, which was my production. So, yeah, it was a lot of things that was learnt from that. But it was also the experience of having dealt with networks and understanding a little bit more about maybe what they want to want to get from you, what you can give to them. Yes, I think it was a real combination of things.
Rob: Because I think obviously pitching it is one aspect of it, but producing it, especially for quite a few seasons, is a is a whole other ballgame down to the nuance of, you know, how much you're paying for hair products. So, you know, is there would you say the working experience from the motorcycle series sort of gave you that experience that you needed even if you didn't realize it beforehand?
Tim: Yeah, I think so. You know, and I think, you know, going back a little way, having worked in it in a network, even in an entry level kind of position, you know, a lot of people now, you know, that they want to get into TV producing or whatever. A lot of people because but we're talking about the technology so readily available. People just get out there and start making content, which is awesome. But a lot of people don't understand fundamentals and don't understand how an industry works. And I think they really struggle to connect, connect the dots sometimes. And so I think, you know, the whole journey for me has really helped connect those dots. I mean, I suppose there's younger producers than me that are putting content out. So there's different pathways to get some way. But in terms of my journey, I think every project that I had leading up to snap happy kind of did, you know, helped me connect those dots to realize what I needed to do and how to do that. And, you know, do it well.
Rob: I mean, there are a lot of working's, as you say, having knowledge of how the industry works. Even in a fundamental sense, because we can all create content just like we are right now. But if someone was to take some content and should try and pitch it to a network, is there some sort of key points or summary that you you think just points that they need to consider before they try and tackle that?
Tim: Sure. Yeah. Look, I mean, I think firstly, you need to be passionate about what you're doing. If you're not, you're not going to really give it that much of a go. I wouldn't have thought so. A passion with the subject matter is really important. Working with really good with people that you get along with. Well, I mean, that's like anything. So, you know, you can't pick your neighbours. You've got good neighbours. Then you're in a good position. But if you've got a terrible neighbour. Then, you know, home life is terrible. So same thing when you're working with someone on a on a creative project, a particularly creative, I suppose, can be, you know, moody or that kind of things. Yeah you do want to be working with the right people. So once you've got that kind of in place, I think you've just got to you've got to pitch. Well, I think you can't you can't just turn up with an idea and say, I got this really great idea. I think you need to really you need to prove to to a certain degree early on that it's actually possible to do something that's entertaining and or educational, whatever it is that you're trying to achieve.
Tim: You need to be able to to demonstrate that early on. So I think a lot of people might miss the mark when they first talk to a broadcaster and then they might not get a second chance because they don't want to hear the same pitch again. So I think you've I think that that's a big part of it, is just pitching well, putting as much work into that and keeping it simple, you know, to, you know. Yeah. Yeah. I mean, there's no magic bullet formula, I suppose. But for us, photography is it is it is a niche, like it's a very popular pastime, but it is still quite a niche subject matter. So. So for us, I think, you know, if we'd gone down a different avenue and let's just say I wanted to produce a fishing show or a lot or, you know, camping lifestyle show, which is very popular. And those programs at the moment, I don't know if you flicked on the telly on a Saturday or Sunday, you know, if you're into fishing and camping and stuff, then you're in heaven because it's
Rob: There's a few around yeah.
Tim: To wall to wall, you know? And, you know, that's great. And if that's what people are watching, that's excellent. If that's what you're passionate about and you're producing that show, then you're loving it, you know? But that's not my passion. So, yeah. So in that sense, I'm doing something that's my passion. But it you know, it can be a difficult subject matter to pitch. And I've had other things kind of fall on the wayside with with network pitches because it's just a little bit too niche. So I suppose that's another consideration. If you can find your passion that that fits a niche that's big enough to actually warrant because the network wants to make money. Ultimately, they want you to bring an audience so that they can sell advertising. And that's how you keep a show on air essentially so.
Rob: Of course. So do you have any any tips for trying to identify sort of appetite for a particular niche? I mean, for the average person, we don't can't necessarily gauge, you know, an audience that may be available to a network, which may be different to say just, you know, YouTube views or something, which someone can can find easily. So give any tips for trying to find a niche or at least find if your passion aligns with a particular niche that, you know, may make commercial sense.
Tim: Yeah, look, I suppose that's a tricky one, because, I mean, you have to do your own research on on what's popular and even, you know, even the fact that my research brought me to the conclusion that photography is actually one of the most popular pastimes, because the amount of people that do it, whether they're doing it professionally or amateurly or just pulling out a phone and taking photos, it is a really popular pastime. But does that? Relate to advertising sales, and it it it's not it's an unusual thing for the industry. When I came along wanting to do a TV series about photography, the manufacturers and the people working in an industry would be taken back because they haven't done TV before. So for them, the way that they structured their finances and their budgets was to other things, not TV. So in that sense, that was a hurdle for us. And the same thing. Who's advertising on TV? I don't know. The last time you saw a Canon or Nikon, you know, Panasonic ad for photography equipment, but it doesn't really exist. It's not really a place where where, though, where that industry advertises. So I think a successful pitch would be around something that that you already see on TV. You already see being advertised. Something that. Yeah. So, I mean, and that's a bit vague, I suppose. But essentially you'll get across the line. I mean, you need to have the talent to to make a program that's entertaining. But if if you're making a show that is getting viewers and that advertisers want to buy the ad space, then you've got a you're on a good thing. So it's just whether your passions align with with what's popular and what's being advertised on networks.
Rob: I think you touched on something interesting there before as well, is that it doesn't have to be entirely unique. It just has to be a hot topic because there is plenty of market and and say if one network is running a photography show, there's no reason why you can't go on picture photography show to another network, because essentially. Is it because they've made the business case already and so it becomes an easier sell rather than some sort of unchartered territory?
Tim: I think so. I mean, I think that perhaps, you know, I think, for instance, you're talking on the fishing theme, you know, when ET brought out his fishing show. I think that's now twenty five years old or something, 20 years old. It's been running for a long time. I think he probably had a really tough time or his producers had a tough time getting that off the ground. I would imagine, because it wasn't something that had really been done before he started doing it. But now that there's, you know, two or three decades of of fishing shows, I think that the the industry, the fishing industry is probably has been softened towards putting money towards advertising in that kind of way, because that's where people are watching and that's where people are getting inspired. Yes. So does that make sense?
Rob: Yeah, that makes sense. So it's almost like a little bit of a sort of a cart and a horse scenario where you need the advertising dollars to support the shows. But the shows help drive the advertising dollars as well.
Tim: Yeah, that's right.
Rob: So speaking of advertising dollars, we are in like a business context here, and it's important, especially with a network involved, to remember that. Are there times where you've had to sort of make not not make compromises, but reassess just how much you can put into the production of these shows? Because, as I can tell you, passionate about it and you really want to generate the best show you possibly can. But there's still a financial side to it. And a you know, you have to go to get a return or at least cover your costs. Have you ever got some experience with that something you can share?
Tim: Sure. Well, my accountants quite disappointed with me a lot, because I don't think I don't think he thinks that I'm making the right decisions at times, particularly when early on when I was working with, you know, aid organisations and perhaps, you know, businesses that might not have, you know, oodles of money for these projects and that kind of thing. But also going into my own productions, you know, for me to go in and work on someone else's show as a in a producing role or directing role or whatever. This probably makes more financial sense in that way. Yes. So, I mean, yes, there's been a lot of challenges, a lot of compromises in terms of let's just say that probably the first couple of seasons or the first couple of years of snap happy, I didn't really make any money on the project. So I was fairly reliant on on corporate work on the side to kind of keep it going. But like with a lot of things either, you know, as you know, a lot of businesses will will kind of fade out quite quickly. And that could that could have certainly happened in this situation. But I I knew that because it was a new thing in that part segment of the industry that I had to actually be a little bit more persistent. So after a couple of years, it actually it got to the point where, you know, it's sustaining itself reasonably well. And and that's kind of where I wanted to see it. Obviously, that's where I want to see it straight up. But, you know. Yes. So there were certainly compromises in terms of, you know, knowing that it was going to be a longer process to to get to where we are today.
Rob: So I think it sounds very familiar to a sort of a business start up context in any industry where sort of this ramping period and a few years can go by before you not only see some money, but find it, whether you actually will ever see some money. And so is there a misconception then sometimes that that just by selling an idea to a network that it's, you know, it's Rolls Royces and money parties?
Tim: I'm yet to see the Rolls Royces or money parties might. Yeah, look, I mean, if everyone's situation is different and I look out, I want to be careful in what I say because I don't want to I don't wanna offend people that I work with. But I think you can sell your soul to a certain degree and go and work for some. Reality television, that's immensely popular, and you can you might be able to roll in the cash in that, but that for me that's you know, there's always two sides to everything. As I said before, it's, you know, am I getting something creatively and do I feel like I'm doing something? You know, some kind of service as well as making money. So it really is a balance for me. And it also relates to the fact that I sort of, you know, get frustrated and bored in certain things if I'm not creating not yet in control, I suppose, for the use of a better term. Yeah. I just lose my marbles. I've got to keep myself interested.
Rob: As you say, like there is a balance there in terms of. And you could there are probably some ideas which are perhaps more mainstream viable than a niche idea as well. And perhaps the the numbers will stack up differently as well. But in terms of being creative and having to make decisions sometimes about, say, as you say, selling your soul, maybe not quite to that extent, but working on a project to fulfil a financial need or something like that, as opposed to doing something that you're super passionate about. How do you find that balance?
Tim: I find it just works itself out. You know, the more the more passionate you are about a project that's not making money, the harder you have to work on the other stuff. So, I mean, I just find that things do tend to work themselves out. Because I mean. Yes. I need to have passion in my in my work life. But also I need money. And when you can combine those two things, it's pretty awesome. But sometimes you've got to find that balance between maybe doing the more corporate work, too. And just um. Yeah. You might have a really busy year because you're working really passionately on a project. And then you need to also balance that with the, you know, with some good paying jobs. Yeah, I find that money has never really been a worry. Like, I you know, I was kind of I was really and I think, you know, the early days of starting at freelance, you know, and not having that regular income, I think sets you up well for that, because the first couple of years, you know, I'd look forward to the occasional care package where my mom would drop off a box of baked beans and undies and socks. I was never so happy to see undies and socks and,
Tim: You know, two minute noodles and whatnot, because, you know, I think in my first year of business, I think I had, you know, maybe 10 grand. And I was, you know, and I had to pay the rent and everything with that money and somehow maintain some kind of professional life.
Rob: Yeah, of course.
Tim: Yeah. So. But so I think having having those those days early on, you kind of you realize what you've got when you when things start to get a bit better.
Rob: Yeah, I mean, I think that's always the balance that we have, yeah, a lot of start up founders essentially kick it off as a side hustle and you know, to use the cool words. And, you know, what's the biggest thing that you've found? Maybe that was unexpected as it has grown and you're not having to support it so much with the mainstream. And it's become less of a side hustle more of the main gig.
Tim: I don't know. That's that's a tough one. I just I mean, I just. Yeah, I don't I don't know how to answer that,
Rob: That's alright.
Tim: Because it's all I've worked for, everything that's happened, nothing's particularly. I mean, I always find that I've. Of, like I said, with the finances, I always feel like I'm being provided for, even when things come into a difficult period. I feel like I've been provided for and personally for me that I attribute that to my faith as a Christian. I feel like I'm actually provided for. And that's so and that goes back to that my sense of not being worried about where that next money's coming from, because I do feel that there's a provision there. And I suppose this as as an example of that is, you know, when when lockdown began and everyone went into isolation. My industry pretty much shut down and all my colleagues were all out of work. And any projects I'm working on, it stops like like SNAP Happy had. So we kind of. And fortunately for me at the time, in that first week, loss multiple big, you know, big jobs and that kind of thing. But by the end of that first week, I was picking up all this work and I looked a lot of it to do with communications of COVID 19, internal communications and that kind of thing with organisations. And even to the point where now I'm doing weekly church services for the cathedral in Sydney, we even this was an unexpected one. I even did the broadcasts for Channel Nine for the Easter service. So that was totally unexpected. I was not planning on doing that. But, you know, that's just how how these things sometimes work out. Yeah. So in that sense, yes. So there are things that surprise you. And having that now is that's a regular weekly gig now that I'm doing producing and producing kind of online content for the cathedral. But that's kind of filled in the gaps for me in a lot of ways. So, you know, just planning now, when's the best time to start production again for SNAP Happy? And that's what we're kind of working towards at the moment.
Rob: And so how disruptive do you think that this could be for, you know, network TV where there are plan schedules and that sort of thing? You know, we've already seen some reality TV shows where they basically wrapped up early this season because they literally couldn't film the rest of it. You know, what sort of consequences are we going to see for this, do you think?
Tim: Yeah, well, look, I think a big one, particularly my situation, but with a lot of people, is it's just the travel and just moving about. You know, we always have an international element to our programming. So I don't know how long it's gonna be until we can travel again. And even just travelling interstate and that kind of thing. At the moment, that's not possible as well. I mean, it's you know, this is why we're distant, because,
Rob: Of course, yeah.
Tim: You know, we can't get crews together to work on stuff you can, but it's very difficult. So in that sense, it's it's really disruptive as to the extent of how disruptive it is in terms of what's going to happen with TV content over the next few months when producers aren't giving content to the networks. That that'll be interesting. We might be seeing more reruns of Gilligan's Island or something. I don't know.
Rob: Just what the universe needs.
Tim: Yeah, exactly. Yes, I look about I think they the travel one is a big disruption. And, you know, even to the point where, you know, with their airlines struggling and going into receivership and things like that, it is is travel going to go up significantly? Because that could really hurt us, because we travel for everything. You know, we shoot very little in Sydney. We shoot all over Australia and all over the world. So if if let's just say travel went up by 20 per cent, that's really gonna hurt our budgets. So I think that that'll reflect on on a lot of production.
Rob: Do you think that we may see more and more competition from sort of new comers or things like that? I mean, with Covid the interesting thing that we've seen is that the veil sort of been lifted on that polished presentation of of media that we sort of become accustomed to. And, you know, news reports are being done from garages. And it's really changed the dynamic and the visuals that are coming across network TV. Do you think that might carry through and there might be a bit of a legacy there long term?
Tim: I think so. I think he a lot of people are rethinking about how they do their communication because everyone's had to adapt, you know? I mean, how much would you love to be the Zoom CEO right now? You know? I mean, he's he's been sitting in a gold mine. He didn't realize it. That is the same thing. I kind of wonder whether a lot of organisations will start to do a lot with their own internal communications, people working from home, you know, being out and communicating through the digital kind of form. I mean, I've been saying from from early on the beginning of this, we're going to see a whole lot of new generation of of vloggers and YouTube stars because people are going. Got this new passion now. Look, you know, I'm making content now. And they I think they'll keep it up after this. You know, when we go back to normality, I think a lot of people will keep that up. And I think we'll see a lot of a lot more digital media in that sense.
Rob: Do you think there's a few lessons to be learned from the bloggers in terms of that sorry, the vloggers in term
Rob: In terms of like lean production values and some of these guys are creating some pretty top notch content with nothing more than, you know, amateur gear and and a bit of creativity and some free time. Do you think there's some things we can learn from those guys?
Tim: Yeah, I think so. I mean, it's all. Yeah, it's it's it's very interesting. I think, you know, people want to see genuine content. And I think even high end agencies and whatnot that are marketing, often they will. Will. Unpolished things that are going out so that it doesn't so that it appears more genuine. And so I think people in that sense. Yeah, it this is definitely a way of communicating and communicating on a budget that speaks in genuine ways. Obviously, having said that, there needs to be some real fundamentals. You know, if if we can't see you, we can't hear you, then, you know, forget about it. But, you know, if we got clear audio, clear vision and you're creative or entertaining or whatever, then there's no reason why that communication isn't valid. And I think. Yeah. So I think there's lots we can learn from that. I mean, I just shut a whole series of a whole series of videos on on an iPhone. And that was what I was commissioned to do, is to shoot the series on an iPhone. And, you know, putting that content out online, you almost you wouldn't know that was an iPhone, you know, nine times out of ten. It's amazing.
Rob: I think that's the thing that the way people are digesting content is different and even watching mainstream media via Facebook or, you know, YouTube live feed. I think most of us have watched, you know, recent premier updates and things half the time. It's through a YouTube live feed or whatever anyway. And and as you say, maybe you wouldn't even know if it was on an iPhone. And it just might make makes life a little bit easier. So we're coming up on time, but I've got a few quick questions that I would love to ask you. And the answers can be as in-depth or as concise as you like, but we'll give it a red hot shot. So in your business journey, what's the single most important thing that you've learnt? Single, absolute single thing.
Tim: Single most important thing. Hey, you asked me now might say something, if you ask me tomorrow, I might say something else. But I think the single most important thing is I've already said is working with people that you like, people that you are compatible with. Because I've worked with people that I'm compatible with and I've worked with people that I'm not compatible with. And it's total polar opposite to. Yeah living a happy life, essentially. Yeah.
Rob: Awesome. Yeah, and we definitely spent a lot of time with the people that we work with. And I think it's definitely, definitely strong on the consideration list. So if you had your time again, is there a decision that you made which you might change in order to change the outcomes that you've had?
Tim: That's a tough one. I. I don't think so. I mean, I'm sure there's plenty of things, mistakes that I've made, but I think that everything that I've done has has given me something that let me grow or learn something. And, you know, the old classic, you learn from your mistakes. You absolutely do. Sometimes it's good to learn from other people's mistakes. So I'd like to hear other people's stories and that kind of thing. But yeah, no, I wouldn't change anything.
Rob: Sounds good. And I think we all like to hear from other people's successes and failures, which is exactly what we're doing right now. Last question is what? Who is one person in the world? Dead or alive? That you'd love to have lunch with.
Rob: Can can be it can be for business or personal reasons.
Tim: Business or personal? Look, I think I would just go. With someone really random and say someone like Bill Murray, you know, just because I think he'd be really funny and he would just have so many stories and and because, you know, I'm not the world's biggest fan of him. I wouldn't I don't think I'd fanboy out. I think I would be able to have a good conversation. So I don't want to. I don't think I want to meet my absolute heroes because. Yeah, know, I'd rather I think I'm probably going to be a bit too awkward. I think.
Rob: And you probably have a great lunch and a good laugh along the way right.
Rob: Sounds like good plan. All right. So what are you working on at the moment in terms of know things are on pause a little bit right now, but I'm presuming it all goes back to normal fairly soon. What's coming up for you next?
Tim: Well, we're actually at the moment, we're developing a one hour online special for SNAP Happy, which as soon as we can resume some travel interstate, I'm going gonna go and meet up with one of our presenters. We're going to we're gonna go somewhere like Fraser Island or a good location for photography. And we're going to do a one hour special, including some tips for how to stay creative in isolation and things like that. So that's what we're working on at the moment. Yeah. And that's just essentially for us is just the way that we can take some content coming out for our fans that won't see us otherwise this year. And then we'll resume for our next season for 2021.
Rob: For those of a who would love those watching, who would love to check you out. Where do they find you?
Tim: Snaphappytv.com. You can find all everything about SNAP Happy or Worldviewproductions.com.au you can find a little bit more about what we do.
Rob: Fantastic. Tim Robinson, I really enjoyed this chat and the insight into media. And thanks so much for being a part of it.
Tim: Thank you, Rob, it's been awesome.
Rob: Thank you. There you have it. I hope you really enjoyed this episode. And if you did, please like it, share it or leave us a review on your favourite platform. It helps us show more of this content to people just like you.