Image: WeOwnTV

Resource for Grantees

VIDEO ADVOCACY PRIMER

by Mary Joyce and John Kennedy | July 2016 (v 1.4)

WHY USE VIDEO?

Video advocacy* is an important tool in the campaign ecosystem. Of all media, video best approximates real life. This realism creates an emotional connection with the audience that motivates them to take action. This primer will teach you how to use video to motivate an audience to take action and create change.

* Every word in italics is defined in the Glossary on p. 11.

Image: WITNESS

CONTENTS1 Building a Strategy..........................4

2 Project Management.....................5

4 Production...........................................7

5 Strategic Distribution...................8

6 Measuring Impact............................9

3 Creating a Narrative.....................6

Glossary.........................................................11Budget Example.............................................12

Appendices............................................10

Credits.......................................................20

In-Depth Case Study......................................14

Theory of Change..........................................15

Image: Flickr/LimpingFrog Productions

Release Form Example..................................13

The goal* of any advocacy video is to motivate an audience to take action in support of a larger campaign goal.

What action is needed by your

campaign?

We are making a video that will inspire __________ (audience/s) to ____________ (action). Because of this audience action, our campaign will be able to achieve _______ (campaign goal).

1 BUILDING A STRATEGY

VideoStrategy

Summary

Want to learn more?

Every word in italics is defined in the Glossary on p. 11 of this primer.

*

Start with yourvideo’s goal.

Which audience needs to take that action?

Now, write your own strategy!

Fill out the Strategic Plan at http://impactguide.org/static/library/IFG_Worksheet.pdf.

Use the Video for Change Toolkit at http://toolkit.witness.org/

Examine the Theory of Change diagrams, starting on slide 15 of this primer.

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e on

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eo S

trat

egy

Case Study

Landminesin Senegal

This is a classic example of an advocacy video. The video persuades the audience to connect with a personal story and to act on that person’s behalf. The video’s strategy could be stated as follows: “We are making a video that will persuade the president of Senegal (audience) to fund health care for landmine victims (action). Because of his action, our campaign will be able to achieve adequate victim health care services (campaign goal).” (Video: http://hub.witness.org/en/AgainstTheTideOfHistory by RADDHO)

A politician?

Your supporters?

A funder?

Aud

ienc

eEx

ampl

es Pass legislation?

Attend a rally?

Donate money?

Act

ion

Exam

ples

Now connect audience

and action to campaign

goal.

2 PROJECT MANAGEMENTStep 1

Assemble your Team

It is easier to film sensitive topics with a small crew; 2 is the minimum.

Producer is the Project Manager (understands video’s goal; schedules filming, set up, and interviews)

Basi

c Te

am

Director is the Storyteller (sometimes also does the filming and editing)

Cost does not

determine a video’s success.

You can shoot the video on a camera phone and can use most computers

to edit.

If you dowant to hire professionals, here are the

costs.

Camera Person $500-$1000 per day (in the US)

Prof

essi

onal

C

osts

Editor $500 or more per day (in the US)

Negotiate. They may reduce the fee for advocacy.

2 days filming +

1 week editing =

a 3-5 minute video

Step 2 Determine the Budget

Step 3 Raise

Money

To fundraise outside foundations, find people or businesses

aligned with your goals.

Check BRITDOC Resources page (link below) for

funders interested in your cause.

Step 4 ManageTime

You will need at least a week to schedule the

2 days of filming.

Take time to know the community you are filming.

We assume you are knowledgeable and embedded.

Ceva de Spus had a defined audience and a call to action, which led to a successful campaign and measurable results.Campaign Goal Accessibility for Romanians with disabilitiesAudience 1) Bus drivers; 2) government officialsAction 1) Stop for people with disabilities; 2) Make government buildings accessible to people with disabilities.Team Staff of the disability self-advocacy NGO Ceva de Spus (Something to Say)Budget $400 USDTime 2 days of editing for a 4-minute videoVideo youtube.com/watch?v=YMSdOj9ecIw

Find funders on BRITDOC’s Resources page at britdoc.org/resources/

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agem

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Ceva de Spus won 1st prize at the 2015 Health Rights Online Film Festival.

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e St

udy

A

cces

sibi

lity!

Read guide Videoactive Girls: videovolunteers.org/wp-content/uploads/2009/09/Toolkit-Prepared-by-Video-Volunteers-for-Videoactive-Girls-project-of-Global-Fund-for-Children.pdf

3 CREATING A NARRATIVEThe message is what the video

tells the audience to motivate them to act.

What motivates

your audience to act?

Technocrat wants facts, statistics, data, evidence.

Partisan wants to see how it benefits their group.

Empath is moved by emotions: tragedy, injustice, hope.

Aud

ienc

e M

otiv

atio

ns

Most of us have multiple motivations.

What message

will speak to that

motivation?

Technocrat “The data shows that X treatment is effective.”

Partisan “Your political allies and supporters are in favor if funding X treatment.”

Mes

sage

Exa

mpl

es

Empath “Without X treatment, people suffer.”

The story makes an emotional argument for action.

The call to action asks the audience to become part of the

story.

How movies use the Hero’s Journey to create stories: vimeo.com/140767141

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arra

tive

Storytelling chapter from Video for Change e-book: library.witness.org/product/video-change-book/

No Talking Heads Film those directly affected, not your staff

Get Out of the Office Go where injustice is happening.

Fina

l Tip

s

De-Center Yourself Let those directly affected speak.

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e St

udy

To

geth

er fo

r Be

rnie

San

ders

Advocacy videos are useful on small focused campaigns and national ones. This 2015 video asked people to help Bernie Sanders in his quest for the presidency.Campaign Goal Bernie Sanders elected PresidentAudience Empath US voters motivated by a desire to connect with their fellow citizensMessage If you want a united country, vote for Bernie SandersStory Bernie Sander is succeeding as the hero of a quest to unite America, but he needs your vote to win the election and complete his quest.Call to Action “Vote together”

Video: vimeo.com/153640576 by HUMAN

The video conveys the “together” message by uniting torn pictures of Americans faces.

Beginning Hero is introduced and starts quest.

Middle Hero faces obstacle.

The

Her

o’s

Jour

ney

End Audience asked to help hero conquer obstacle & complete quest.

One type of story is called

the “Hero’s Journey.”

Politician “Fund Treatment Now!”

Supporter “Call your MP now to demand treatment funding.”

Donor “Donate now!”

Cal

ls t

o A

ctio

n

4 PRODUCTIONDecide who will

do the work.Decide

StrategyCreate

NarrativePre-

Production Production Post-Production

DistributeVideo

EvaluateImpact

Option 1Hire a Media Firm

Your Work Their Work Your Work

Your Work

Your Work

Their Work Your Work

Their Work

1 2 3 4 5 6 7

Option 2Hire a Director

Option 3Partner with aDocumentarian

Option 4Do It Yourself

Video Advocacy Process

Understand Safety & Security at library.witness.org/product/safety-security/

Learn more about the Three Stages of Every Project at thevideoeffect.tv/2013/06/26/video-pre-production-and-post-production/

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e on

Prod

ucti

on

Dig deep into the Video Production Archive at library.witness.org/product-tag/video-production/

You

Documentary director Dara Kell and Socio-Economic Rights Institute of South Africa (SERI) combined their expertise and knowledge to create a series of videos. Option Hire a Director (#2)Goal Engage marginalized communities in SERI’s litigation workDivision of Work SERI staff identified the video goal. Dara helped with strategy and made the video.Video youtube.com/watch?v=Jp708AxzTdI

Case Study Widows of Marikana

High quality, high control

High quality, less control

High quality, least control

Lowest quality, highest control

Ensure the physical &

emotional safety of all participants.

Who Filmmaker, NGO, distributor, those who appear in & are represented by the film

When Risk exists during filming & editing, as well as after distribution.R

isk

Ass

essm

ent

Basic

Con

sider

atio

ns What Risk means retaliation, backlash, re-victimization, & other possible harms Reduce risks

& obtain informed

consent (see form, p. 11)

5 STRATEGIC DISTRIBUTIONNow, show your video

to your audience.

You already

know who they are.

The President of Senegal

American empath voters

Users of Change.org (see case study)

Aud

ienc

eEx

ampl

es

In order to reach your audience, you will need

to build relationships with distribution partners.

Reached byAudience

Dis

trib

utio

n M

etho

d Ex

ampl

es Partner+ =

Embed video on page of ally website; send invitation to watch

video to their email list

Live screening at their office

News report by local TV station

Live screening at the village church

Relationships built at the start of video creation will help with

distribution at the end.

Start reaching out to partners now!

Villagers in a rural area

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e St

udy

In

dian

Rai

lway

s Bl

ind

to D

isab

ility

Journalist at the TV station

Wanting a video to “go viral” on YouTube is not a sufficient strategy. Who needs to see the video? How do you want them to act to create change?Campaign Goal Build a footbridge at a train station to protect blind users from injury.Audience Empath citizens who take action online + empath rail officials who can fund the building of the footbridgeReached by Uploaded to YouTube + embedded on UnheardIndia website + linked to in Change.org petition + live screening for railway officialsOutcome Railway officials agreed to build a footbridge.Video + More Info www.v4c.org/en/video-volunteers-impact-case-study by A. Lalzare.

A Railway Manager (see case study)

Want more suggestions about distributing your video strategically?

Read the Impact Distribution section of impactguide.org/evaluating/evaluation-toolbox/

See many Distribution Pathways at http://impactguide.org/static/images/distribution.png

Read the Hybrid Distribution Guide at v4c.org/en/content/hybrid-distribution-guide

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trib

utio

n

Politician’s staff

Church pastor

Politician

Likely attendees to your protest march

Other NGO’s working on your

issue

Residents of X city

6 MEASURING IMPACT Measuring impact means documenting

the action taken by the audience after watching

the video.

ActionAudience Metric=Agree to sponsor a

human rights bill

Recycle

Sign up for a legal services consultation

Villagers in a rural area Number of sign-ups

Tons of recycling

+Agreement

Donate Supporters of your

organizationQuantity of

money raisedC

ompa

riso

n Ex

ampl

es Metric

Number of sign-ups

Tons of recycling

+Do we raise more money when we embed a video on the page?

Quantity of money raised

Question for Future Action

Did more people sign up for help when we screened a video first?

Did the news coverage convince more people to recycle?

Comparison=Money raised on the page in 1 month, with &. without a video

Sign-ups with & without a video screening at the event

Tons of recycling in month before & after the broadcast

Most metrics are only useful

in guiding future action

when they are evaluated

comparatively.

Audience action is the goal of any advocacy video

Measuring action = measuring

goal achievement

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KO

NY

201

2

The KONY 2012 viral video is criticized for gaining 100+ million views, but not leading to the arrest of Joseph Kony, and for speaking for Ugandans, removing their agency. The video highlights that views ≠ change.Campaign Goal Arrest Ugandan warlord Joseph KonyAudience Empath young AmericansAction Buy and use action kit + sign pledge + donate Metrics Arrest Kony (+ action kit sales/use + $ raised)Impact Substantial donations and views, Kony still at large.Video www.youtube.com/watch?v=Y4MnpzG5Sqc

Use the Evaluation Toolbox at http://impactguide.org/evaluating/evaluation-toolbox/

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Mea

suri

ng Im

pact

Read this post on Creating and Measuring Social Impact at v4c.org/en/video-change-working-paper-creating-and-measuring-social-impact

Politician

Residents of X city

The metric is the unit of

measureof that action.

Met

ric

Exam

ples

APPENDICES

Image: WeOwnTV

VIDEO ADVOCACY GLOSSARY•Action Task or activity undertaken in furtherance of a goal •Advocacy Promotion of an action or policy to benefit a population or person whose interests are not being met•Audience Intended viewer(s) •Call to Action Words that incite the audience to urgently undertake an activity•Campaign Series of actions undertaken to achieve a goal•Content Information and ideas expressed through a medium, such as words or images•Distribution Partner An individual or organization who, through their own connections to your audience, helps you show your video to that audience• Empath Person who is able to perceive the emotional state of another person and who is moved to take action based on that other person’s emotional state•Goal Desired outcome•Hero Character at the center of a story; the protagonist•Impact Change made to a situation or context*•Informed Consent Permission given to undertake an activity with understanding of the possible consequences •Message Underlying persuasive content of a piece of media, usually not explicitly stated•Metric Unit of measurement•Motivation Reasons for taking action•Narrative Account of connected events• Partisan Strong supporter of a particular group or cause, often to the exclusion of concern for other groups or causes• Persuasion The art of convincing someone to do something

• Post-Production Final phase of video creation, which begins after all the footage has been captured. Includes editing the• footage in a way that effectively tells the story. Other tasks include adding titles, subtitles, graphics, music, color correction and effects. **• Pre-Production The phase of a video project where all the planning takes place before the cameras roll. This work includes casting (selecting hero), storyboarding, script-writing, and scouting locations.**• Production This phase begins once the footage is recorded. During the production process you will work out the lighting requirements, framing and composition. **•Quest Long and difficult search for the solution to a problem• Strategy Plan of actions undertaken to achieve a goal• Story Account of connected events told for the purpose entertaining - or otherwise emotionally engaging - an audience•Tactic Action undertaken to achieve a goal•Technocrat Person with analytical skills and knowledge who relies on that expertise over emotions or group affiliation when making decisions, particularly decisions of an official nature•Video Recording of moving images•Video Advocacy Use of a recording of moving images to convince an audience to take an action that will benefit a population or person whose interests are not being met•Viral Spreading rapidly from one person to another, as when a disease is transmitted among infected people* Source: Video for Change (www.v4c.org)

** Source: The Video Effect (www.thevideoeffect.tv)

VIDEO BUDGET EXAMPLE*

*Budget courtesy of NMAP

Staff & Benefits

Staff, Payroll Taxes, Benefits $12,000.00

Staff & Benefits Total $12,000.00

Contractors

Contractors - Shooting (5 days @ 400/day) $2,000.00

Contractors - Field Audio/Production Assistance (5 days @ $250/day)

$1,250.00

Contractors - Editing (12 days @ $400/day) $4,800.00

Music - Licensing / Composition $500.00

Transcription and Translation $2,000.00

Graphics $1,000.00

Contractors Total $11,550.00

Travel

Airfare (2 staff members @ $1000 + baggage) $2,400.00

Food, Lodging (3 staff + creatives x 5 days @ $250/diem) $3,750.00

Local Transport $350.00

Travel Costs Total $6,500.00

Equipment and Capital Expenditure

Camera Equipment (Rentals @$150/shoot day) $750.00

Storage/Hard Drives $600.00

Total Equipment and Capital Expenditure: $1,350.00

Direct Costs Total $31,400.00

Indirect Costs

Indirect Costs (Rent, Accounting, Audit, Insurance, Supplies, Utilities, Postage, etc.) 12% of budget

$3,600.00

Indirect Costs Total $3,600.00

Budget Total $35,000.00

Section title (Use color to make

budget easy to read.)

Description of good or service

Section sub-total

Cost of good or service

Words go on the left.

Direct cost of making the video

Indirect administrative

costs (overhead)

Numbers go on the right.

Total cost of the video project (Brightest color

because this is the most important info.)

RELEASE FORM EXAMPLE*

*Form courtesy of WITNESSLink: library.witness.org/product/informed-consent-template/

Checklist for Personal Informed Consent and Release

Name  of  Interviewee:  _____________________Name  of  Producer(s):  _____________________Date:  _________________

Par$cipa$on  in  Interview

☐  I  am  18  years  old  or  older  (If  under  18,  obtain  addi2onal  consent  from  legal  guardian).☐  I  understand  who  is  interviewing  me,  and  why  I  am  being  interviewed  (Ask  interviewee  to  explain  in  his  or  her  own  words).☐  My  parCcipaCon  in  this  interview  is  voluntary.  I  understand  that  there  are  no  repercussions  for  refusing  to  parCcipate.☐  I  understand  that  I  can  stop  this  recording  and  interview  at  any  Cme,  and  that  I  can  refuse  to  answer  any  quesCon.

Restric$ons

☐  I  understand  that  I  am  free  to  set  restricCons  on  the  filming,  recording,  and  use  of  this  interview.☐  I  consent  to  the  filming,  recording,  and  use  of  my  face/image.   (☐  I  do  not  consent  to  the  filming,  recording,  and  use  of  my  face/image).☐  I  consent  to  the  filming,  recording  and  use  of  my  voice.   (☐  I  do  not  consent  to  the  filming,  recording  and  use  of  my  voice).☐  I  consent  to  the  use  of  my  full  name.   (☐  I  do  not  consent  to  the  use  of  my  full  name).☐  I  hereby  declare  the  following  further  restricCons  on  the  use  of  these  recordings:____________________________________________________________________________________________________________________________________________________________________________________________________________________

☐  I  understand  that  if  circumstances  change  and  I  need  to  rescind  consent,  I  must  contact  the  Producers,  who  will  abide  by  my  request  to  the  extent  possible.

Usage

☐  I  understand  that  use  can  mean  reproducCon,  exhibiCon,  broadcast,  and  archiving,  in  whole  or  in  part,  in  any  media  now  known  or  hereaJer  to  come  into  existence,  throughout  the  world.    I  understand  that  examples  of  use  include  broadcast  on  television,  posCng  on  the  Internet,  exhibiCon  at  public  screenings,  inclusion  in  reports  and  legal  cases,  and  long-­‐term  retenCon  and  accessibility  in  an  archive.☐  I  consent  to  the  use  of  these  recordings  in  the  video  advocacy  project,  _________________________,  abiding  by  the  restricCons  set  out  here.☐  I  consent  to  the  Producers’  use  of  these  recordings  for  other  purposes  now  and  any  Cme  in  the  future,  in  a  manner  consistent  with  the  Statement  of  Intent  on  Video  Usage,  which  includes  abiding  by  the  restricCons  set  out  here.☐  I  consent  to  allowing  the  Producers  to  license  or  assign  the  rights  to  these  recordings  to  third  parCes,  in  a  manner  consistent  with  the  Statement  of  Intent  on  Video  Usage,  which  includes  abiding  by  the  restricCons  set  out  here.☐  I  understand  that  due  to  the  nature  of  digital  recordings,  there  is  a  risk  that  anyone  may  obtain,  view,  and  re-­‐use  copies  of  these  recordings,  and  the  restricted  informa$on  contained  in  them,  without  my  permission  or  the  permission  of  the  Producers  or  their  licensees.

              ProducerSigned:  ______________________         Signed:  _______________________  Name:  _______________________         Name:  ________________________OrganizaCon:  _________________         OrganizaCon:  ___________________Date:  ________________________         Date:_________________________

Consent to be interviewed

Restrictions on what can and cannot be

recorded from that interview

Consent to use the video recording of

the interview

Both participant and filmmaker sign

Consent is only meaningful when it is possible to deny consent.

IN-DEPTH CASE STUDY THE WIDOWS OF MARIKANA

What is the video? Bertha Justice Initiative partner Socio-Economic RightsInstitute of South Africa (SERI) collaborated with Sleeping Giant Films to produce a series of videos. One is called Imbokodo: The Widows of Marikana. That video documents the experiences of the families of miners killed in the struggle for a living wage at Marikana, South Africa, on August 16th, 2012.

What is the video link? youtube.com/watch?v=Jp708AxzTdI

Who made the video? Dara Kell, who is also director of the documentary Dear Mandela.

Who was the project manager? The video project was jointly managed by Dara, Stuart Wilson (Executive Director of SERI), and Nomzamo Zondo (Director of Litigation for SERI).

Who created the strategy? Dara used knowledge gained during outreach and screenings of Dear Mandela to define the audience and the goals of the videos.

Who was the audience of the video? The primary audience for the video is the communities most affected by these health rights and civil rights issues. The videos were brought to a number of rural communities to be screened directly to this audience. The videos were also shared with civil society, young lawyers, and media groups.

What action did you want from those who watched the video? The aim was for the audience 1) to know their rights, 2) to understand their rights when engaging lawyers, and 3) to become engaged in the struggle for justice.

What was your theory of change? The campaign goal was to increase participation of marginalized communities in South Africa that SERI serves in civil rights litigation. The video goal was to show these stories to the marginalized communities. We hoped the video would persuade these communities to see that they have power and access to rights defined in the constitution. The impact for SERI would be to see more individuals from these communities become engaged in legal proceedings.

How much did the video cost? $37,900 for 4 short documentary-

style advocacy videos.

How did you raise the funds? We received a Bertha Foundation

Media Opportunity grant. How did SERI find a director? Stuart Wilson was a lawyer involved in the Dear Mandela documentary, made by Dara.

How did Dara and SERI work together? (i.e., who set the goal and content of the video? How did they reach these decisions?) Stuart Wilson and Nomzamo Zondo had a clear goal for the story and knew the best storytellers. Dara was left in charge of the filming. The SERI team gave feedback and notes to Dara. 

Did you do an impact study?  SERI and Dara are starting an impact study in August of this year.

Image: WITNESS

Basic & Advanced Models

VIDEO ADVOCACY THEORY OF CHANGE

by Mary Joyce

BASIC MODEL

Start here.

CampaignGoal

VideoGoal

AudienceAction

Identifyaudience

that needs to act.

Show video to audience.

Audience action

benefits campaign.

Mary Joyce, 2016

Tuberculosis Treatment in East AfricaPatients who are delinquent in taking their TB medication are unjustly sent to prison, instead of treatment centers.

Start here.

CampaignGoal

The goal is that TB patients who a r e d e l i n q u e n t o n t h e i r medications are sent to treatment centers, not to prison.

VideoGoal

Magistrates who see the video subsequently sentence patients to treatment centers, instead of prison.

AudienceAction

One of the magistrates said it influenced her thinking, but it’s unclear if sentencing practices changed.

Magistrateshave control

over sentencing.

Video screened for magistrates.

Since we don’t know if sentencing practices changed, we also don’t know

if the video benefited the campaign.

Mary Joyce, 2016

BASIC MODEL EXAMPLE

CampaignGoal

Desired benefit forMarginalized Population

VideoGoal

desired effect onAudience

Impact ofVideo

realized effect onAudience

Impact onCampaignrealized benefit forMarginalized Population

Audience sees video

Desired

Realized

MarginalizedPopulation Audience

C a m p a i g n identifies an audience that c a n b e n e fi t the population

A u d i e n c e takes action

End evaluation here.

Goa

l-Set

ting

Eval

uatio

nCampaign Video

Evaluate whether video benefited population

Start goal-setting here.

Mary Joyce, 2016

ADVANCED MODEL

Desired

Realized

Population: DelinquentTB Patients

Audience: Magistrates

CampaignGoal

TB patients who are delinquent on their medications are sent to t r e a t m e n t c e n t e r s instead of prisons.

VideoGoal

Magistrates who see the v i d e o s u b s e q u e n t l y sentence pat ients to treatment centers instead of prison.

Impact of Video on Audience

A single magistrate “admitted to having learnt something new that would assist her... to ensure that the public health is not put

at risk.”*

Impact of Audience Action on

Campaign? (NGO provided no evidence as to whether sentencing rates actually changed.)

*Text from a 2015 grantee report; anonymized to protect the privacy of the NGO

M a g i s t r a t e s ha v e c on t ro l over sentencing

U n c l e a r w h e t h e r magistrates c h a n g e d sen tenc ing practices

Video screened for magistrates

Unclear if video actually helped patients

Start here.M

ary Joyce, 2016

Tuberculosis Treatment in East AfricaPatients who are delinquent in taking their TB medication are unjustly sent to prison, instead of treatment centers.

ADVANCED MODEL EXAMPLE

CREDITSWe would like to thank these Bertha Foundation partners for their input into the creation of this primer: •Adam Stofsky, New Media Advocacy Project •Jessica Mayberry, Video Volunteers •Andrew Lowenthal, EngageMedia •Priscila Neri and the team at WITNESS

We would also like to thank these Bertha Foundation partners for their input on the needs assessment: •Stuart Wilson, Socio-Economic Rights Institute of South Africa •Jennifer Gibson, Reprieve •Brian Concannon, Institute for Justice and Democracy in Haiti •Anabel Bermejo Bragado, European Center for Constitutional and Human Rights •Shahzad Akbar, The Foundation for Fundamental Rights •Romel Bagares, CenterLaw

Image: WITNESS

THANK YOU!

Mary Joyce | Analysis + Design + Content mary@dobiggood.com

John Kennedy | Project Management + Outreach + Interviews + Content 5050john@gmail.com

IMPACT

Image: Flickr/Tom Blackwell

FindingsImage: Flickr/Very Quiet 1

THANK YOU!

Mary Joyce | contact@maryjoyce.com!Video Strategy Analysis, Findings and Recommendations, Information Visualization and Models

John Kennedy | Video Content and Production Analysis | 505050john@gmail.com

IMPACTImage: Flickr/Tom Blackwell

FindingsImage: Flickr/Very Quiet 1

THANK YOU!

Mary Joyce | contact@maryjoyce.com!Video Strategy Analysis, Findings and Recommendations, Information Visualization and Models

John Kennedy | Video Content and Production Analysis | 505050john@gmail.com

Image: LifeMosaic