Capturing the High Seas: Patrick Condy's Journey in Sailing Photography and Drone Adventures

Ever wondered what it takes to capture the essence of sailing on camera? Join us as we chat with Patrick Condy, the visionary behind PKC Media, who shares his transformative journey from Scotland to the Isle of Wight, fueled by a passion for photography and the ocean. As a water sports visual content creator, Condy offers a behind-the-scenes look at the thrills and trials of photographing dynamic water sports. From his early days interning at OC Sport

Dead Pixels Society podcast listeners! Registration is now open for Photo Imaging CONNECT, March 16-17, at the RIO in Las Vegas. In a special partnership with WPPI, the Photo Imaging CONNECT is THE executive-level conference bringing together the photo/imaging industry to discuss trends, opportunities, new technologies, and more in an intimate setting. Go now to www.photoimagingconnect.com today to register, and use code PIC30 for 30% off.

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Are you ready for 2025? If you're in the imaging industry, you need to be at Photo Imaging CONNECT, March 16-17, at the RIO in Las Vegas. This is an executive-level event bringing together various sectors of the photo/imaging industry to discuss trends, opportunities, new technologies, and more! Meet old friends and make new ones. Go now to www.photoimagingconnect.com today to register, and use code PIC30 for 30% off.

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Chapters

• 0:33 Sailing Photography and Gear Survival
• 12:42 Drone Photography and Sports Storytelling
• 20:48 Photography, Branding, and Boat Racing

Transcript

Erin Manning: 0:33

Welcome to the Dead Pixel Society podcast, the photo imaging industry's leading news source. Here's your host, Gary Pageau. The Dead Pixels Society podcast is brought to you by Mediaclip, Advertek Printing, and Independent Photo Imagers.

Gary Pageau: 0:50

Hello again and welcome to the Dead Pixels Society podcast. I'm your host, Gary Pageau, and today we're joined by Patrick Condy, the founder of PKC Media. He is a visual content creator of all kinds, and he's coming to us from the Isle of Wight. I think he's the first guest from the Isle of Wight, so welcome Patrick. How are you today?

Patrick Condy: 1:12

Hi Gary, thanks for having me on. Yes, I'm coming to you from the Isle of Wight here in the UK across the pond. All very good here. A bit chilly on our side of the water, but all very good and looking forward to getting into talking about it on here.

Gary Pageau: 1:26

Are you from the Isle of Wight? Is that where you started from, or is that where your business is located?

Patrick Condy: 1:37

business is located here. I'm originally from Scotland. My accent has somewhat disappeared now. After a couple of gin and tonics it comes back straight back out. So you might you might hear a little twang every now and then, but it's mostly, uh, softened. But I moved here for business. Okay, my work as a photographer takes me into the water sports and sailing space and, um, this is the sort of mecca for it in the UK. So that's what brought me here almost eight years ago now.

Gary Pageau: 1:59

Oh, okay, so that was kind of my question. So you started in Scotland. Is that where your interest in photography started, and how did that start?

Patrick Condy: 2:07

Yeah, my interest in photography started there, alongside sailing. Sailing and my business have been, are so intertwined. It is within sailing and I grew up sailing up there with my family and I had a knee injury and my father bought me a camera for Christmas one year because I wasn't able to walk and go very far, and he drove me around and take pictures and I fell in love with it from there and and I decided my degree in sports was not as fun as taking pictures and so I went down the route of taking pictures and has ever since continued to grow, and that led me to moving here as an intern working at a place called OC Sport and we had a global tour of sailing boats that would go around and race in different cities and I was the intern with the camera running around and and that's where it all started and that's where I sort of started founding myself self-employed and then a small business at pkt media.

Gary Pageau: 3:04

So that's how it started so what kind of sports were you involved in? Just the sailing?

Patrick Condy: 3:08

you said you were in the yeah, so that's a good question, guy. We do a lot of mainly sailing, um, but there's a lot of different disciplines within sailing. You have, you know, grand prix, so like your Formula 1s that go around a track, we also have offshore sailing, which is a big focus area of mine, which I try and relate it to. Other sports would be kind of like a rally or the Dakar. They'll disappear off for two to three weeks and race across the Atlantic or race around the world.

Patrick Condy: 3:37

I can't go on that one, but we go on lots and it's our job to try and tell these stories. And then the other sports that I focus on are we have a lot of surfing here, kind of general water sports, wing foiling and other bits and bobs like that that go on In the water or on. It is the place for me. I've dabbled in a couple of bits of Formula E and some other sports, but for me it's the stories around the ocean and get told in the ocean and the sports that happen there. For me that's the interest.

Gary Pageau: 4:08

That's very interesting, because I imagine it's very, very difficult to even break into that. So you said you started with another company, uh oc sport, right as an intern. And then when did you? How long were you in the business before you broke off on your own and started uh pkc media?

Patrick Condy: 4:26

so basically it's been. It was eight months um as an intern there and really found my love for it, but the the sport is fickle in its jobs.

Gary Pageau: 4:38

Exactly.

Patrick Condy: 4:40

Our industry runs on sponsorship and sports sponsorship, so anything to do with sports sponsorship is somewhat fickle, and that was my first time being made redundant from that job and I thought this isn't very nice. So I thought maybe I don't want to do that again, and so I set up PKC Media, just essentially for myself, to contract myself out to a number of different people, but it's always enabled me to have the well, I'm just gonna do something else on the side. That that interests me and I think that's always been the winner is that, uh, you know I love taking pictures of sailing and offshore, but if there's something else that really interests me, I'm like, oh, I think maybe I'll just try that out a bit as well, and I'm setting up myself has really enabled me to do this just fascinating, because you must be putting the camera systems to extreme tests because you're moving, your subjects are moving, the background is moving.

Gary Pageau: 5:49

What I mean? I'm not. This is not a gear podcast. I'm just curious. What is it that you use for that?

Patrick Condy: 5:56

Yeah, I mean, you're right, Gary, the environments are some of the harshest that really you can take a camera to. I've been through many over the years and I've sat on all sides. I have tried Sony's, I've tried Canon's, I even tried some Fuji's. I've tried them all. But I always come back to the Nikons, or Americans you would say. You call them Nikons. I'm not making fun, but I always have the conversation with international people when they say nikon and I say nikon, but we know who we mean.

Patrick Condy: 6:29

Um, for me it's a little bit of a personal preference in that the first camera, way back when that my dad bought me, which was a, I still have it. I still have the original camera that started the business. It was a nikon and then. So, ever since then, the button layouts yes, they change and you're much fancier cameras, but the ethos is the same and there's part of it for that. But then I made a big switch to canon and I did enjoy them and I had a lot about them, but they kept dying. They kept dying, they'd get salty and wet and they would die. Um through about three or four in a year and thought these are, that's it, and I went back to the nikons and now I'm using two z9s and an older z7 for when it's really wet and horrible. I'd take that one up because I know that I get a good picture from it, but if it dies, I'm I'm not going to be too upset so what?

Gary Pageau: 7:15

what causes the death of a camera? I mean, I think the obvious would be just water, and I'm sure you've got housings and things to cope with that. But is it just salt air? Is it? What's the?

Patrick Condy: 7:27

Yeah, salty air really kills them off. I mean, normally it's usually a big wave that I haven't seen. I have housing, you know rubber.

Gary Pageau: 7:35

I shouldn't laugh at that, but that just sounds no, no usually what happens?

Patrick Condy: 7:38

because you forget, you know the sailor or the subject is facing the way of the ocean and I'm my back to it normally. So I usually get caught out and, um, you know, it will be in those moments where I think that sunrise is just perfect and I'm gonna I don't have time to put it in the housing or whatever uh, and you end up with the bare camera and you, you think I'll risk it and that's when.

Patrick Condy: 7:58

That's when so it's user error so yeah, it's risking it sometimes for the shot. It's worth it, that's usually worth it. That's what kills them off and it's cruel. It's very cruel because they they get wet and you dry them out and they sort of come back to life, but then it's like a slow death over the next few months. The salt that's got in them just slowly kills them off. Yeah, it's not very nice, unfortunately for them.

Erin Manning: 8:23

Oh goodness.

Gary Pageau: 8:28

So, and of course, nikon I'm going to use your phrase, since we're in your world you know had the Nikonos system. You know where they were literally the platform for underwater photography for so many years. So there's a lot of heritage there with Nikon.

Patrick Condy: 8:40

Yeah, and actually when I've been a naughty boy and forgotten to put my housing on, or I've had a housing flood, which is pretty exciting, the Nikons do seem to. Actually, I thought I flooded this very Z9 that we're using now in a housing and it had a full drenching and and it's still so far it's a year and a half later is surviving, oh wow.

Gary Pageau: 9:08

So I want to talk a little bit about where you are. I mean, are you is there like another boat, that is, like a media boat, or are you embedded with a team? And who pays for that? Who's hiring you?

Patrick Condy: 9:15

yeah, it's a really interesting question and and it's very dependent. So there's a. The business model works on a few different ways. So the team themselves will hire me internally, um, and that usually means that I'm on board the yacht that's racing, or on board one of the team's ribs, um, and so the, the sports team, is paying for me, but they're getting their money from a sponsor. So somebody wants the, their title, down the side of the vessel. They're paying the team for that and then they use that to pay me, and that's the easiest form, that's the most common.

Patrick Condy: 9:48

The other one you will have is the races themselves. The organizers will want coverage of the race, and so they'll employ me to cover the race starts or finishes or parts of the race. And then the most complicated and and somewhat outdated system, which started when I was around, was taking, going to events on my own back, taking pictures and selling them individually to participants at the events, and that was the norm in our industry and has been for a long time. And when I started sailing and going to these events, I was a poor student and I didn't want to pay, you know, 50, 60 pounds for a picture of me sailing, and I thought this model doesn't work because I would see people take screenshotting from the website and just posting with the watermark. It always doesn't work. It's a waste of why bother, and so I changed my focus and I never really saw after that. I always thought that that's going to leave that to the older blokes.

Gary Pageau: 10:47

Well, you know it's funny you just said, because over um I, I, one of my friends of the podcast, is a guy named Haim Ariyaf who runs the uh, glossy finish and they do sports photography and he has a system for doing action sports photography and it's very kind of. It's kind of similar to what you do, right, people pay for the service and he calls the what you say, the old blokes, that process. He calls that spray and pray right, you take a picture and you pray.

Patrick Condy: 11:15

Someone buys one yeah, exactly, and I just think it never worked. And so I tried it out and nobody ever bought any. And I thought think it never worked, and so I tried it out and nobody ever bought any. And I thought, well, it's not because my pictures are terrible, I think it's just a rubbish model and and I'm targeting the teams and the organizations and and actually that makes a lot more sense and it's about how you market that. So, for instance, I say to the organizers you need to advertise to the people that are paying you that they're getting images for free, that they don't have to then pay for them. And slowly over the years it's becoming the norm. You know people enter sailing events or go to races and they know that they'll get images for free part of the entry. So it's been an interesting development in the model of the business and that it's moved with the times, the digital times. Now that's how it works.

Gary Pageau: 12:00

Speaking of moving with the digital times, you also do some videography and you also do some drone. Yeah, what's that like on the open seas using drones? It's got to be harrying or horrible.

Patrick Condy: 12:17

Yeah, I think my photography and videography skills and storytelling is good, but I often say part of my big appeal and why I ended up having a job was the ability to fly drones on these rocks. And so imagine driving down a country lane at 30 miles an hour where it's water spraying in the window and inside these boats it can be 120 decibels, so it's being like stood next to roadworks, so it's not a very nice environment. And then trying to fly a drone is pretty tricky. And the bit that's challenging is that there is only 10 or 20 or so people in the world that do this and the drones aren't made for that. So the drones don't like to take off while they're moving, they don't like being at sea. The image gets confused. The image sensing gets confused.

Gary Pageau: 13:03

Right.

Patrick Condy: 13:03

And the worst part is that your controller doesn't have any GPS in it, so it doesn't know where it is.

Erin Manning: 13:09

Right.

Patrick Condy: 13:09

So the drone knows where it took off, which can be four kilometers that way. Right, so the whole time you have to fight the system.

Gary Pageau: 13:16

So the whole return to base function is useless.

Patrick Condy: 13:20

Useless. Not that I am the return to base function, gary, that's my job in this, so it's pretty tricky and we do lose them. But look, and I don't feel good about putting plastic in the ocean. But in terms of our other options it's helicopters and A they're a lot more costly by almost tenfold and they're a lot worse for the environment to have those things flying around in the sky. So they really have changed the way that we tell our sports story and take pictures, and I think drones in general for the wider photography community have just changed the game unbelievably. It's accessible to everybody now for $200.

Gary Pageau: 13:58

What would a typical like you have an objective when you're launching a drone? You probably have a shot or a visual in mind, right, that you're trying to capture, right, because you know a boat crossing the sunset or whatever. What kind of planning goes into doing that kind of thing? Because that's got to be so much pre-visualization and planning more so than anything else.

Patrick Condy: 14:20

Yeah, and part of it is planning and part of it is being ready, because I'm not in control of the boat. I am a little in terms that I can ask. I'm a sailor myself, so I understand the environment, so I know what's going to happen when roughly, and I can ask the sailors to move the boat in a certain way, but I'm not in control of the environment at all, and so you have to just basically be ready to fly when you feel there's a good moment. So, for instance, I'll tell you a story. We go offshore on these boats for extended periods of time to capture assets, and we did a two-week trip down to Portugal and I remember specifically lying in my bed.

Gary Pageau: 14:58

I'm so sorry you had to do that.

Patrick Condy: 15:01

Well, we never got to Portugal, we just got there and got back on the boat. I remember lying in my bunk and thinking, oh, it's feeling a bit more rough, and I could see this weird light coming through and I thought, I think it's, we've picked up speed and it's probably about sunset and something good is happening. And I got up and I'm in my underwear and I think, oh, this is amazing, I've got to take a picture of this. And I launched the drone and I can remember being stood on the back of this boat doing almost top speed in my pants, flying the drone trying to capture these images. So there is pre-planning, but the planning is having. It sounds silly, but having the box and the case, that's usable, and having the drone charged and and the organization around that and then just getting the moment at the time.

Gary Pageau: 15:46

So that's the, that's the challenge and the logistics are just, you know you.

Patrick Condy: 15:51

I mean, I don't know what brand drone you use, but you don't get a lot of life out of those things in terms of battery no, so we're using the um, I use dgi's and usually, whatever the most recent model is, the fastest one is the wind speeds are a challenge for myself, and so that's what I used. But you've got to be organized with the charging the batteries and you only get, you know now 25 minutes out of them, but five minutes of that is landing. I'm pretty quick at landing, but the bow is moving a lot and you're moving, and so landing takes a minute. So you've got to'm pretty quick at landing, but the bow is moving a lot and you're moving, and so landing takes a minute. So you've got to be pretty quick with knowing when you're ready to go.

Gary Pageau: 16:23

So your actual useful video time is 15, 20 minutes tops.

Patrick Condy: 16:30

Yeah, that's about it. So you launch with a hundred percent and if I'm getting down to, you know, when I'm getting to 40%, I'm I'm getting nervous, you know, so you don't end up with long. I'm getting nervous, you know, so you don't end up with long.

Gary Pageau: 16:41

So have you ever had one like drop off, like when it's on, it's on the approach and it's going to make it, and then it just dies?

Patrick Condy: 16:50

Yeah, and it's the worst feeling, cause you can see it go and you're so close but you're so not.

Gary Pageau: 16:55

I mean you can't tell the boat to turn around and retrieve it.

Patrick Condy: 16:58

And they sink. They've gone instantly they sink. I've lost a few now and they've gone. And the only thing if it's really, really windy and we're struggling to get them back on, I the. The sail of the boat is soft and, um, it's hard to damage. So I often, if I'm really gonna, I know the shot is worth it and I'm not gonna get the drone back I'll fly the drone into the sail and then the drone breaks, but I get the memory card.

Gary Pageau: 17:21

That's the important bit because it's not streaming, is it? So you have to have the card out of it?

Patrick Condy: 17:26

yeah, and when they are streaming, it's streaming in such low quality that is almost no use. It's almost more hurtful that you have that than you have the original you're killing your battery is what you're doing yeah, exactly that. So it's. It's a challenge all in all, but you know, you know that's what makes the job exciting and that's, when you get those images, what makes it worth it to get into like a niche like this.

Gary Pageau: 17:57

I mean, I don't want people to come in and start competing with you, but there's a ton of other niches that people could do this kind of thing. I'm thinking like rock climbing or mountaineering or something like that. So if someone was interested in getting into this kind of business, what do you think would be essential for I mean, besides obviously having a passion for the category right, having being a passion for the niche?

Patrick Condy: 18:23

I think it's a good question. Actually and I think I thought about this before it's nothing to do with the equipment or how you approach it or anything. I think, as you say, having a passion but also an understanding that you have to earn your place there in terms of and I don't mean this in that you know you need to go and be an intern or anything else you need to gain the trust of the people that are doing it and they will see god, this guy really loves it and he actually wants to tell my story and then suddenly all the doors are flung open for you and then you get into the. You know equipment and and understanding the niche and and working with suppliers. That that's been a big one.

Patrick Condy: 19:04

For me is is working with. I've done some stuff with nikon and and outex, which are a housing company on the products, because they didn't quite work for me in this niche, and I reach out to them and say, look, I love this, I love the product, I need your help to help me with it. And again people can feel the passion and then they go okay, why should we help this chap? And he goes you can, they can see what you do and they earn the respect, and then the doors are opened, and that's, for me, is the the biggest advice is to to earn the place to open the door.

Gary Pageau: 19:34

Once the door is open, you've got to run straight through it, and then it goes the business side of it is kind of interesting, I think, to me, because you mentioned gear and stuff like that almost down below the actual relationship side of it. Um, do you think it is valuable for people to have been a competitor or an enthusiast in an event to become a photographer or a storyteller, if you will, in the category, because you have a salient background but you never were able to really compete in it. Do you think that's important?

Patrick Condy: 20:07

A hundred percent, I really do, and I think that if you have any sort of understanding about the sport and really engaging in it, before you even bother taking a picture of it, you know, go and watch every YouTube there is to watch about it or really invest about what it is, and then you will understand the stories. And that that, for me, is that's the key from a business is it doesn't matter how you're going to take the picture in the first instance, that it matters after. But to be able to open the door, you need to understand what door you're knocking on. You know, and that, that, for me, is the big thing is understanding who you're speaking to and what their story is and I imagine you have some credibility.

Patrick Condy: 20:48

Yeah, I think that helps.

Gary Pageau: 20:49

You know what you can ask for and what you shouldn't ask for at certain times.

Patrick Condy: 20:54

Yeah, exactly Like you know. For instance, if I'm not going to ask one of the sailors that I work with right in the intense moment of changing a sail, which is a very difficult physical process, oh sorry, could you just do that again? Again, tell me to go away in not so polite terms, and they have, and I have asked those questions and I've learned my lesson right. But you have to go and then you realize, oh, actually it's your privilege to be in that space and you have to, and and sometimes you can.

Patrick Condy: 21:22

For me, the relationship of a photographer and as a business, you're always using your tokens, you're earning your tokens and thanks very much. You know I'm doing a good job for you. I'm doing a good job. Oh, by the way, now I do actually need you to do that again, but here are more my tokens that I'm going to cash in to make you do that again for me, you know that's right that's my kind of way sometimes I treat some of the clients is that you know you've got to use the relationship occasionally to better the picture.

Gary Pageau: 21:50

They then realize, oh okay, he was worth it for that picture do you get like a shot list or an objective when you're covering things, or or if you're covering something for a brand, let's say, for example, let's say, uh, you've worked with some big brands. Maybe one of those big brands says, hey, hey, we're sponsoring this boat. I shouldn't say boat, that's probably not the right word.

Patrick Condy: 22:40

No, no it's correct All right?

Gary Pageau: 22:47

Well, I didn't want to be a yacht or a racer or a schooner or whatever, so do they give you a shot list per se of covering the event for their brand.

Patrick Condy: 22:58

Or are they trusting you to tell their story that way? That's an interesting question, and actually I think this is one of the areas that I feel I've had some success in delivering. Is that from being somebody that did the social media and from both ends, you know I would do the end to end taking the picture, making the document, making the pitch deck, publishing things on the website. I know what is needed on the marketing side and I know I take that. Rather than trying to understand a good picture, I go, okay, you know, clothing brand a that's employed me. I know that you need this for your website, so I know that you, you don't care if it's a lovely picture. You care if your brand is nice and your jacket's there.

Patrick Condy: 23:36

Um, exactly, that's been the key, I think, for me as a photographer and a storyteller is to, because the brands are the people that are paying, right, they're paying directly in the photo shoot or they're paying the team to put the brand on the boat or the team member. That's the whole thing. The brand is always paying and so you always have to cater to them, and I see some photographers yes, it's a beautiful picture, but there's no branding in it and so there's no value to that. And we've been. I've employed people for various teams and other things for photo shoots and I think where's the branding? The brand are paying you, but you've got not a single picture and so there's no point, and so there is sometimes briefs. But now I get to a point where there's some trust there and they know that actually I'm here for you and for the brand and that's what it is. And don't get me wrong, I still take those beautiful pictures, but they have different use cases.

Gary Pageau: 24:26

That's been the keys, just understanding the need of who's employing it when you go to a shoot and you see those beautiful pictures, who owns all those right? Let's say, for example, you wanted to and I know stock photography is a terrible business to be in but let's say, for example, you were to, wanted to build a stock portfolio of pretty ships on the seas and sunsets and whatnot and you want to license it. Or somebody came to you and say, hey, can I license that? Can you do that? Who? Who owns this stuff?

Patrick Condy: 24:55

so again, and, as you say, stock photography is a world of gray areas and trips and trapfalls and similar for mine. I'm not in stock photography, but I like to, where possible, keep the rights for myself because I might want to print them coffee table book that I'm working on doing and other things like that. So there's a negotiation that happens. Some clients want just for them, only for them, and then I have to say, okay, well, you're gonna have to pay a little bit more for if you want exclusive rights, right, and usually it's quite significantly more, uh. And then they say, oh, no, thanks, and then I get to remain the rights and I'm, I play the game, you know, I know what are their headline pictures and they're going to be the ones with the jacket and the things that they want. I'm not going to use those, but I might use the pretty ones from that shoot and so there's the tradeoff I'm not using the brand pictures, I'm using the nicer ones, Right?

Gary Pageau: 25:48

And that's what I was getting to. Is that I'm sure there's a lot of content you have that are not brand appropriate or brand nice, or I'm not sure what the word is but yeah and but still are great pictures. And you know, if you signed over the rights to the whole shoot, they're kind of not of use to anyone at that point.

Patrick Condy: 26:03

Exactly, and thankfully in our industry here in the UK it's not super common to have exclusive rights, so it does happen, it's very negotiated and it's very clear that that is what's happening, so it's much easier in a way.

Gary Pageau: 26:16

How is that category of racing boats doing? Is it wildly popular? Is it becoming more popular? I'm curious because I know other sports that are kind of affluent, adjacent right, like high-end golf and things like that are going through a lot of changes now with sponsorships and controlling bodies and things like that are going through a lot of changes now with sponsorships and controlling bodies and things like that. What's happening in the world of boat racing?

Patrick Condy: 26:43

Yeah, in the world of my main genre is offshore racing, which is sort of off into big oceans, and a lot of it happens in France. The French, as a population, love it, they are fully invested in. You know, it's like um nfl in the states. Everybody knows about it. Yeah, so the race that is happening at the moment is called the vende globe. Uh, it happens from a region in france. 96 percent of france know about the race, so the whole country knows about it. So the vende globe race is their super bowl. You know, it's a huge, huge deal and it's only getting bigger. It took a real spike in covet because people were at home watching sports and you could be at a boat.

Gary Pageau: 27:27

You were isolated. People could exactly so.

Patrick Condy: 27:30

Covet was good for sailing in some sense. Uh, grow the sport and then, year on year, it is growing. But yeah, we're seeing a change in sailing, that it's all moving forwards, but it's the expensive ones. The bigger, higher end teams are growing and the smaller lower end teams are struggling with budgets and and finding cash is becoming harder. So there's growth at the top and and growth at the very bottom, but the middle bit is becoming becoming trickier. It's interesting for me in that most of my business will always happen at the top, right, um, and not so much in the middle, so at current it's it's not affected us a huge amount, uh here.

Gary Pageau: 28:08

So we'll see what continues to happen who are the typical sponsors of this sport? Are they like international brands? Are they French brands? I'm curious, if I tune in on YouTube to watch one of these things, who am I gonna see?

Patrick Condy: 28:25

yeah, it's a good question. So we've had a few big ones over the years that I've worked for. So Hugo Boss, the clothing manufacturer and company they were a big sponsor for many, many years of a team I worked for. L'occitane en Provence, which some people may have heard of, is a cosmetic and skincare brand that were very large in Europe and France and Asia pushing out there. So they're one. And then you have things like I'm trying to think Chiral, they make burgers. So they make all the French meat burgers in France, so they're kind of a bit like. You probably haven't heard of a brand called bird's eye, but you know food manufacturers are quite common and mcdonald's sponsors a boat as well, so there's a few of those. Yeah, yeah, mcdonald's france sponsor one of the boats, so there's there's quite a range of of people that sponsor these things. So emirates as well, you know they sponsor some stuff.

Gary Pageau: 29:16

So it's, it's a, it's a big range, it's yeah, that is the big range going from uh hugo boss down to mcdonald's yes, exactly so, and it's a lot dependent on what the company's objectives are.

Patrick Condy: 29:29

You know, for us, with hugo boss, alongside that, we launched a clothing line. We were the sole faces of the clothing line was the sailing clothing line. That was meant for the marine environment and by the beach and the sea and everything, and so it worked. The synergy was there. And for McDonald's, she talks a lot about food health.

Gary Pageau: 29:45

I was thinking the Filet-O-Fish is what I was going.

Patrick Condy: 29:49

I have to say I've never tried one of those, but they, you know, and at the end of the day they're, they're eyeballs on the logo.

Gary Pageau: 30:03

That's what they're paying're eyeballs on the logo, right, that's what they're paying some of the time as well.

Patrick Condy: 30:05

So the mcdonald's is eyeballs on the logo and your job is you make the make what that eyeball sees. Very good, yeah. And prime example is we've employed people when they used to cut off the hugo boss. They're not. They'd have half, they'd have hugo. And you're like, well, you've literally taken a picture of half of the logo. So no use, I'm afraid. And so that was always the one where, if you can service the brand, you'll be within a job and you'll have a business well, patrick, it's been great talking to you.

Gary Pageau: 30:23

Where can people go to see your work and learn more about pkc media?

Patrick Condy: 30:31

thank gary. Yes, it has been great and I know it's been short, but it's been really interesting to chat and people can take a look at my website at pkcmediacom or hit me up on Instagram. That's where you'll see lots of behind the scenes stuff. Last night, for example, some splashing around in the garden with a hose trying to take some pictures which you would never know were taken in a back garden. So yeah, that kind of fun happens on Instagram, so hit me up there All right, well, thank you so much, patrick.

Gary Pageau: 30:58

Good to see you and stay safe out there.

Patrick Condy: 31:02

Yeah, thanks again, Gary.

Erin Manning: 31:03

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