Las Vegas Video Production Portfolio

Robert Cardenas, Cardenas Law Group: I've been a litigation attorney in the community for nearly 26 years. I've tried cases, I've mediated cases, I've arbitrated cases, I've been in depositions. And I think it does provide better result and better experience for the client because we have the confidence, knowing that we can take the necessary steps to protect their interests and create the best result for them. People don't care how much you know until they know how much you care. It's about being personal. A lot of firms might characterize themselves as being boutique, but we live it. It's ingrained in sort of our firm DNA. We are founded on this idea that we want to take care of the needs of people and meet them exactly where they're at. So when we look at a claim, we try to identify all areas of loss, and we do our best to create a result that will compensate the client and make them whole at the end of the day. We try to deliver in scenarios that are seemingly impossible to deliver where others would say no or turn them away. We're into doing the righteous thing. It's about how the client was made to feel throughout the process, and understanding that what they went through could impact their life, not only in the short term, but the long term. If a client ever reaches out to us and wants to know what's going on with their case, we view that as a failure on our part. A client should never have to call us to ask what's happening on their case. We are a firm that's founded on integrity and character. It's something I demand of myself and I demand of my people. We tell every single person that consults with us, we're going to take great care of you throughout the process, and that's our commitment to them from the outset. We will take great care of you. Who you hire truly matters. This is Cardenas Law Group.

Sandra, client of Cardenas Law Group: Driving every day is definitely more dangerous than flying. I see things every day that I'm just blown away by. You never know what's going to happen. If you've been injured, I think Rob and his team are the perfect people to go to. He always had my back in the best way possible. I was traveling northbound on the I-15 and started slowing down for traffic. I always looked up in my rearview mirror and I saw this person coming at me. I thought, they're going to hit me. I got hit by a multi-passenger van that had a trailer attached to it, so a lot of weight getting pushed into me and my little car. At that point, I didn't feel that I was in enough pain to go by ambulance or anything because I think the adrenaline had hit me. So I decided to drive home. I don't remember if it was the next day or the day after, but I was in pain. And at that point I decided, okay, I should probably contact an attorney. That day, Rob drove all the way to my house from Henderson to North Las Vegas to come meet me at my home and tell me how we're going to go about this and the game plan. Throughout that period, I was having severe left leg pain. I felt like the worst parent in the world. Something that I could never explain to my children, like, I'm sorry I couldn't be there for you. I had surgery. They did screws and a titanium disk that now replaced the disk that I did have naturally. After the back surgery, I would say my back felt better, but I continued to have severe leg pain and drop foot. Come to find out, I had a torn meniscus. So shortly after, we scheduled surgery for a repair. Still feeling pain. Still miserable. One day I was just in with my chiropractor and she said, you know, I met this doctor at a conference that specializes in nerves of the legs and feet. Went into his office. He talked to me, asked me what I was feeling. Okay, well, it's time for you to get ready for surgery. It's called peripheral nerve surgery in the side of your leg. [Postoperatively, vaguely waking from surgery, she recalls the surgeon telling the nurse her leg was bad but he had fixed it.] Since then, I've significantly had relief in my leg and my back. I can live my life. I can be with my kids. I actually had another baby, which I thought I never would be able to have another baby. And I did. If you are seeking legal counsel, I think Rob and his team were the perfect people to go to because they're supportive. They care about you as a person and your family and your feelings and what you're feeling. It would always make me feel understood and supported. He always had my back in the best way possible. I think it just goes to show that there are still good people out there. I can't say enough about what great people they are. I would just trust my entire life with them. Honestly.

Adam Fonta, founder of Lionheart Injury Law: For as long as I can remember, I have believed that courage has the power to make the world a better place. After law school, I didn't practice law for nearly six years. Instead of doing law, I volunteered in the Peace Corps, living in a small village in Ethiopia. Some of the poorest people on the planet with no running water, no electricity, no internet, no phone. I helped a local school install a water tank so that kids could wash their hands. I taught mothers how to grow vegetables in their backyards so that they could get enough nutrition to feed their babies. This is where I learned the true meaning of courage. Courage is serving others even when no one's watching and no one's asking for your help. This is what I do every day as a personal injury lawyer. I help people that have no one else to fight for them. Families that have been shattered by corporate negligence. Victims who have been dismissed by insurance companies. Insurance makes a promise to people. A promise is a commitment. A commitment that when something bad happens to them, the insurance company is going to take care of you. When they don't, that's where we step in and we can help people when insurance companies are not fulfilling their promises. Lions represent courage. Courage means taking on the hardest cases that other lawyers have turned away as unwinnable. The other piece is heart. All of our clients are at the worst point in their life. Something tragic has happened. They've been hurt, and they need help from someone. When you fight for those clients and you win those cases, you know that you're truly making a difference in someone's life. That takes both courage and heart. That's where the name Lionheart comes from.

Dr. Anna Shagharyan, G4 By Golpa: I'm Doctor Anna Shagharyan. I practice dentistry. I've been doing the G4 procedure for about five and a half years. I did get my initial training with Doctor Golpa. So initially he would guide me during the procedure, and then if I would have any questions, I would do the procedure, and then I would have him come and check my placement or X-rays. At this point, I've probably helped place thousands of implants and restore thousands of smiles. So it's second nature. Over the years, I've been able to say yes to more procedures and to more complexity because as I gained a lot of experience, my confidence level has increased. And in addition, I've taken many advanced surgery courses, which also affects and increases your skill level and confidence. So yes, absolutely, I've been saying yes to more complex cases than before. These days, people's approach to dentistry is changing. These days, everybody is looking for fast and quick treatment. They don't want to wait for months and years to get their dental work done. And I see a lot more younger patients coming in. Dentistry is my passion. I'm very passionate about dentistry. This procedure is life-changing for patients to undergo. When the patient first sees their teeth, obviously they get really ecstatic and they're very excited, and they see change coming in their life. And all this brings a lot of emotions. And myself also, it's very gratifying to be able to provide the procedure for them and to be part of their life-changing experience.

G4 By Golpa patient testimonial: You and the staff here at G4 was fantastic. They have a very professional yet family-related approach. The staff treated me like family. They made me feel like a person, not just a number. I didn't really feel like a conventional patient. It gave me great confidence in going ahead and going through with the procedure. I'm so glad that I did.

Anne Henn, G4 By Golpa patient and spokesperson: Hi, I'm Anne Henn. Hello, gorgeous. But I'm also a G4 by Golpa patient. Why should you choose G4? It's simple. They have the most experience. Cutting-edge technology. The best patient care. The shortest turnaround versus even the biggest corporate dental centers. And a better price than much less experienced providers. Efficiency means savings, and that's why you should choose G4 by Golpa.

Hazel Honeysuckle, professional burlesque performer and Green Fairy in Absinthe: Burlesque means a different thing to every single person. But for me, it's been a path to self-confidence. There's a freedom to it. A rebellious streak that burlesque has allowed me to develop. My name is Hazel Honeysuckle. I play the green fairy in Absinthe. I think that the wig is what makes me feel the most like the green fairy. I'm used to seeing my face in makeup for my burlesque career, but when I put the green fairy wig on, that is real. It makes me feel like I am that character. She's not so different from me. Just a little louder, probably. It's usually only a few minutes until the kabuki falls. That way, I get my first look at the whole audience. The feather drop signifies the trip into the world of absinthe. I say hi to everyone. The snaps are the start of the interactive portion. I make sure to look into as many people's eyes as possible and I snap and you can see them go, oh, she's looking at me. I'd better snap. The table is a big part of my act because it limits where I can move and how far I can move. It's like a silent partner in the act. I make all kinds of faces during the act. I don't just have one feeling about what I'm doing. This is not just a seduction, it's tease. It's fierce. It's funny. It's so many different things. I often choose a woman in a couple. They get a big kick out of it, and it means a lot to me to make both the men and the women comfortable in my act. I think it's really important that people realize that burlesque is not just for the men because boobs come out. It's for everybody. The audience is a huge part of the energy that I have onstage. Without the audience, I wouldn't have an act. It's a striptease. You're not teasing if you're not teasing anyone. The corset is a symbol of women being forced into certain roles. I always like to make a face at it when I throw it down the aisle, like, screw you. The interesting thing about tassel twirling is it's not an inherently sexy move. It's a lot more of a rebellious thing to do. This careless joy of shaking around, being naked, free, and happy. I hope that the women that see my act go away feeling like they don't have to take things so seriously. That sexiness is fun. Burlesque isn't going to save the world, but it's going to help us feel better while we try to.

Louis Biggs, circus performer, and Avi Wolf Borouchoff, aerial straps artist: Louie: Hello. He is an aerial straps artist, all-rounder. He's going to show us some of his easiest through to his most difficult tricks. We're just going to see what the heck you're doing today. Avi on his background: My mom was a clown by profession. She did birthday parties and dragged me along because no babysitter. And I learned how to twist balloon animals. Then I was like, oh, I want to be a musical theater boy. I liked that circus had this uniqueness to it. You can bring something different to it depending on what you do. There's a lot of freedom in circus. On his easiest trick: I feel like a spin is always good because the audience sees a spin and they're like, oh my God. Humans love to see objects revolve fast in a space. On performing: The idea of being a movement-based artist is that you want to do something where the audience just sees it as an illusion. But they all can relate with it because they all know what it's like to do a pull up or hang from one arm. Our challenge is that you've got to smile and stuff while you're doing what you're doing, sweating through your eyeballs. But you find the love in it. It's the only reason I still do it. You put yourself through that kind of pain every night, you're not going to come back and do it again if it's not something you adore. On his hardest trick: It's a switch with a little light catch. You're hanging from one arm, you whip it around, you're spinning. It's at the beginning of the act so it's a good moment. You give them the wow factor.

Documentary episode. Louis Biggs, circus and burlesque performer from Australia: I'm Louis Biggs. I'm a circus, burlesque, and cabaret performer. I do yoyo manipulation. Everyone knows the yoyo, the toy. But it gets a lot more complicated when you're using other parts of your body. [Less than a month after arriving in Las Vegas, Louis learns that the show he was hired for, OPM, is closing.] Shannon, resident director: I think we are going to have another opportunity for you at the Atomic Saloon. Spiegel World's Atomic Saloon show is also playing just down the strip. They are looking for a mayor, and I think we need to do a little bit of reconfiguring with your act to make it work for Atomic. That will be great for you. [Three weeks of rehearsal follow: act creation from scratch, costume fitting, fight choreography with the in-house team, and lighting design for his yoyo finale.] Louie during rehearsal: Shannon's great. She did give me some comforting words. The main thing she said was that I'm going to be doing this act two times a day for the next seven months, so I need to like it. It needs to be good for me. [On debut night:] Louie: It's my debut. Hopefully it's gonna be good.

Leah Culver, electronic music artist, DJ, producer, and visual artist: I'm willing to cover. I produce music, songwrite, sing, and play shows, make art and all around just have a good time. In the last three years, I've made so much music, so much new music, that I've been releasing with Monstercat. You should check out all the artists on Monstercat. Monstercat is a label from Canada. They are the nicest, most amazing people ever. They have been so supportive and incredible with my releases. We started with Won't Stop, Call My Name, and then moved on to Give It All in October, which I just released. It's been so cool to get that kind of support. I feel so proud. You always have to ask yourself what everyone's intentions are and just try to protect yourself, because I think at the end of the day, you will be the only one to protect yourself. We are releasing every month and now we're doing like bimonthly. So we have so much music to release with them in this coming year, which I'm so excited about. Most of these songs are about things we've also been discussing, like the passing of Harrison. I'm grateful for this experience because it gets us to the point we are at and where we're supposed to be. I can see personally in the places that were the hardest or the scariest or the most painful, that it got me exactly where I'm supposed to be, which is to the most resilient form I've ever been in my life. And that's just something that you can't take away from people. It's insane the things that have happened since we started this documentary. [On growing up in Atlanta:] I was born in Northside Hospital in Atlanta. I grew up in Gwinnett. I think growing up in Atlanta in general was a really good experience. Everything was such a melting pot. I'm really grateful for that. My mom raised me to love everybody. I have two brothers. The oldest brother played drums all growing up and was in bands. And then my middle brother is a DJ. So growing up in my musical family, as the youngest, all I ever wanted to do is hang out with the bigger kids, and they were always making music, so I was always kind of like the little sister on the beat-up couch with my brothers playing in their band, watching my middle brother scratch on his turntables. I'd sneak in there when I was like 6 or 7 and play on them. If you caught me, I was dead. But they had a huge influence on my want to create music. [On how she became a DJ:] I fell into DJing, actually. It's a funny weird story. I was working for a rave company — barely working for it, I mean, like sending emails and partying as a young kid, really. So my friend who was running it said, "There's no female DJs in Atlanta." I'm like, "I'm a female DJ." And he's like, "Really?" I'm like, "Yeah." And he's like, "You're booked." It was just a joke. It was just a joke. And then I learned how to DJ like that week. There were like four days before the show. [On the music production school Icon Collective:] There's really no school for music producers that have an emphasis on being an artist. They're not trying to get a job somewhere else in the industry working on someone else's music. So Icon has a program that really empowers students to learn the skills they need and the business know-how to take this on as a career, but all with the artist mentality as the focus. The curriculum really has four angles to it. The first being the technical side — understanding your DAW, mixing, mastering, recording, synthesis, sound design. The second is the musical side: music theory, harmony, arrangement, keyboard technique. We have like the campfire test — if a song can't stand alone on just piano or guitar in a small room without the lasers shooting off behind you, you need to work on it a little more. The third angle is the business side: where is money being made, how has the industry worked, where is it going. The fourth, probably the most important, is the creative side — a class called the Art of Flow, where they take away all technology, no phones, laptops. They really dive into the headspace of what it means to be an artist. They bring in people for Q&As — artists like Getter, Borgore — and they tend to bring in EDM-type people because the students tend to be more EDM driven. The songwriter class was great for me, and I've been writing songs forever. I wish I had done it sooner. [On music as painting:] I do a lot of sampling and resampling and audio effects. It's like painting, really. It's like painting sound. I paint. Some colors are brighter, some sounds are brighter, more tinny. Some purples are more deep, like the lower sounds are a little more deep. You have all this space on a canvas. Your drums are usually pretty center. You try to have balance, and you do the same thing in composing music as you do a painting. You choose your colors, you choose your sounds. You want it to be aesthetic, you want it to sound good. [On her art and street murals in Atlanta:] So for me, art is just as important as music. I spend a lot of time when I'm not making music, painting. Some of that is spray painting. I love the art scene here in Atlanta. They do this really cool thing called Free Art Friday. You paint things and you drop them in locations and hashtag it, and then somebody can come get some free art. It's kind of cool because it's another way to get back some light into the world. I tend to draw faces and paint faces. I usually do them bald, and it's kind of against beauty standards. But I also put like big lips and small noses and big eyes, long lashes, perfect brows. That's just kind of what society expects of women nowadays. [Leah performing, introducing a song at a live show:] My name is Leah Culver, and tonight's a special night. Let's have a good time together. Let's go. [On Imagine Music Festival in Atlanta:] Imagine Festival is always really fun for me because every single year I want to one-up what I did the previous year. Imagine Music Festival is a three-day music festival. We grew from being an inner city music festival to now a three, sometimes four, day festival with camping. We've had Leah play the main stage at Imagine every year for six years now. She's great and she really deserves it. [On the pandemic and writing through it:] I focused on writing a lot of new music in that time, almost like chronically writing. I was writing every single day, whether it be just by myself or my guitarist Lance would get on Zoom with me sometimes. We would decide what we're feeling. These could be songs for me or for other people — we were just writing, like 30 songs or more. Every year I go into this phase where I write like two albums worth of music. [On grieving the loss of her brother John:] I think I'm kind of there again a little bit because, as many people know, my brother passed away some months ago. John, John inspired me to no end, starting from when I was five. He put my hands on the decks. Both of my brothers are so musical. I wouldn't be, we wouldn't be here without John. He was my biggest supporter. One of the things I learned from John is how to not take things too seriously, how to make jokes, how to make something that's hard fun, and push through things that are hard, and work hard. He would kind of push me up, but also pull at me to remind me — don't ever get too comfortable, you can always be better, you can always improve. John was a huge part of the Atlanta EDM scene. When I first came into the Atlanta EDM scene, no one knew who I was, but everyone knew who John was. He always showed up, and he taught me how to be a strong person. Any time I would get down on myself, he wouldn't let me sit down too long. He'd just remind me — don't sit down there too long. No time. You got to stand up and run. John died too young. He died trying. He was fighting a lot of things, and he tried. John is the reason I'm here, hands down, as far as inspiring me to start wanting to be this. [Closing reflection:] I'm definitely in shock. I'm no newbie to grief. But I'm the happiest I've ever been right now. Also, it's crazy, because I'm making the best music I've ever made. I hope that if anyone feels stuck, they will just take inventory in their life and ask themselves what makes them happy and what doesn't, and who makes them happy and what doesn't, and just make the changes you need to make. Because I'm pretty sure the only thing that matters is physical action, making the changes you need to make to move forward. And no one's going to come do it for you. If you don't like something, change it. If you don't change it, you didn't try hard enough — is what John would say. I hope that seeing this documentary and watching all of this helps somebody know that you can get through it. We're on this little spinning rock together. And the least I can do is make art and try to create a place with anyone I interact with that is safe and feels good.

Return to Vietnam documentary, 2019. Produced by Whisenhunt Media. Joe, Vietnam veteran, swift boat crew, U.S. Navy, 1969: I left in 1969 for swift boat duty and it was a pretty lonely feeling. I had no idea what the hell I was getting into other than I knew I was going to land in the middle of a war. My daily thought when I woke up in the morning was first to thank God I was alive. And then how am I going to get through today? It's the not knowing that gets to you, the feeling that you're never safe anywhere, at any time. [On the Kidnap Canal ambush, March 7, 1969:] I was stationed in Da Nang, and we patrolled from just south of Da Nang all the way up to the DMZ. We were sent into the Kidnap Canal via the Bay Hap River. I didn't know what the hell was around the next corner. And of course, I'm in the front of the boat — the very bow. We got almost to a village that was on our port side, which would be the left. Then a rocket came flying across from the starboard side. Shrapnel went everywhere and my injured man got hit in the arm with a piece of shrapnel in his bicep. We turned around. Those two boats burnt that village to the ground. The following day, they returned only to find themselves in more danger. A rocket came through the side of the boat, went to the refrigerator, came out the front of the freezer, and hit the fire extinguisher in the cabin. Then another rocket hit the back cabin of the boat and the shrapnel just went everywhere. I actually had blood coming out my ears. I was scared. I don't mind admitting it. I was afraid back then, and I remembered that I was afraid. I was not afraid this time. But I remembered the feeling. [On the question of returning, 50 years later:] One of my jobs allowed me to have an office in Singapore. Every time I flew to Singapore, I'd fly over Vietnam. I would look down at it and say to myself, do I need to go back? Do I want to go back? What would I see? What would I do? I thought about it often — going back and passing out candy instead of bullets, in the village we burnt down. I decided no, I don't think I need to go back. But then I realized there's a hole in my travel and it's Vietnam. It's going to fill in a blank spot. That's what I think. Simple answer, but that's what I feel. [Meeting the villagers at the Kidnap Canal, 50 years later:] I came here. I come in peace this time. We were enemies in the past but now, yes, friends. We shake our hand for our friend. What I would like to say is that I, I got to — I came here, I come in peace this time. Yeah. And I like android — we were enemies in the past but now. Yes, friends now we are. It was wonderful to meet them in peace after all these years. My heart goes out to them because this was their backyard. I mean, I tried to put the situation in reverse. What if they were in my house, in Ohio, burning down my house? I would not like that. To find the exact spot and the people that were involved in the ambush was unbelievable. [After the Kidnap Canal visit:] For the last two months I've been crying at home thinking about it. I didn't know what I was going to say. What do I say to somebody at home I burned down 50 years ago? That's whatever I said — it just came to me. And I think it's because they didn't hold anything against me. Even the one old lady — she told me she was 14 years old when I burned her home down. And she wasn't angry with me. [Planting a tree in the new village:] That's who was present for it. And it made me feel wonderful. I feel friendship and peace. It's sad that it ever had to happen, but we move on. It's been 50 years since I've been here, and I hope 50 years from now Madeleine comes and visits. The fact that I was accepted by all of those people after what we had all been through — I consider myself a victim of that war. I was a victim of my government. Because until the day somebody can give me a valid reason why I was there, why we gave 58,222 men, I'll continue to feel that way. John, Vietnam veteran, combat medic, 1st Battalion 5th Mechanized Infantry, 25th Infantry Division "Tropic Lightning": The reason they made me a medic is I told them I'm really against not only the war, but against killing, and that I really didn't want to be a part of that. I didn't carry a weapon the whole time because I knew my boys were all going to protect me. They wanted me alive more than I wanted me alive at the time. To me it was just another event. Something that happened. I guess I had just become numb, which most of us did, because it hurt too much to feel. I don't talk about the war much. I've got it locked up in a little box in there, and I know where it is. I can go to it if I need it, but it doesn't dominate me. And I'm going to always have a mistress. And that's Vietnam itself. That's never left. I remember my father once. He said, "Was it bad?" I said, "Yes." That was the only thing he ever knew about what I did. My mother died in January. She never knew. I never told her. [On returning to the Black Virgin Mountain:] When we came out of town, I hadn't shown you that picture of the Black Virgin Mountain, and I knew that we were probably going to see it at some point. And the first time I saw it, it was an immediate — right back in there. And it worked amazingly, just like it did 50 years ago. As we got closer and it got bigger in the frame, I got more emotional about it, starting to think about what went on at the base of it and the top of it and in between. And so it was an immediate icon that I could gravitate to that says, I'm here. [Describing his worst combat experience — an RPG ambush in a rubber plantation:] There were bodies everywhere. And in my mind, I think there were 80 to 90 people dead. We had, I think, 175 people in the whole train. I hear the word medic. I get my bag, and I head out, running across the middle of the circle, heading for the soldier, and an RPG hit next to me, and I hear somebody say, "Doc, doc, you're hit!" There was no other medic to service me, so I was awake enough to tell them what to do. What had happened was a piece of metal — about an inch and a quarter, very jagged — had gone into my neck, tumbled, tore out my nerves and stopped a quarter of an inch from my jugular vein. So my first thought was, this is it, my ticket home. And about two weeks later we were short of medics and they sent me out again. So my wound that I thought was my ticket home was nothing more than a little delay. [At Cu Chi tunnels:] I realized all of these guys in my company, my squad, my platoon, that I had become dear, dear friends with — and then this battle, I lost like three of them. And I said to myself, I can't go forward investing so much in these people. If they were just numbers or strangers, maybe it would be easier for me. So I went to my men and I said, you know me as doc. I said, if you love me as much as you say you do, you can't burden me with your life. Because when you're gone, I'll still have that. Unless you're hurt, don't call me. [Walking through the jungle at Cu Chi:] Walking through the jungle was very much as if I was here then in 1968. There was no long-term thought of today, years in the future, or after the war. It was really about just getting through today. Not stepping on anything, not getting hurt, and being there for other people because I was a medic. So my responsibility was to be there so that I could help other people. [After Cu Chi — on whether veterans should return:] I'll be 100% honest with you. I became very upset watching the film at the Cu Chi museum. I came here in peace. What happened 50 years ago was not good for anybody. And I couldn't understand why the people of Vietnam would feel the way they do. But the men that I fought with — those are my brothers. We were pawns in this game, and it hurt me to watch a film where they were telling us that this woman received a medal for killing 15 American soldiers. That hurt me. [Final reflection:] Now, when I lay my head on the pillow, I think of Mr. Bang and me sitting together, and my granddaughter. That's a lot nicer thought. What will I say to veterans if they ask me if they should return or not? It's a very hard question. Every soldier is different, and their experiences were different, and their horrors were different, and their losses were different. I think other soldiers, many other soldiers, couldn't take it. It wouldn't be good for them. The only thing I can tell them is — the people will welcome you. There's no war anymore. It was okay for me to come. [Documentary narrator / producer:] One of the things that the Vietnamese can do for the Americans — and I've seen this over and over — is they can help them heal. They can help them find peace by forgiving them for what they did. This is common when veterans go over. So many of them want to say, I'm sorry. I never thought about the fact that you were someone else's son and that your life was as important as mine. And that, I think, is one of the most beautiful things I've seen as part of this experience. What I hope is that veterans, when they go back to Vietnam, become more whole. By that I mean they can heal an emotional wound, and that they can find the answers to questions that have lingered within them for so long.

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