How to Improve Your Orthodontic Practice Brand

Alison Werner

Hello and welcome to the Orthodontic Products podcast. I’m your host, Alison Werner. In this episode, we’re gonna talk about branding and the process that goes into it. And joining us to do that is Tony Peniche from the orthodontic consulting firm, Peniche & Associates. Tony is director of innovation there and works with orthodontic practices to help them not only build their brands, but also their larger marketing programs and to develop innovative ways to build on their success. Tony, thanks for joining me again.

 

Tony Peniche

Thank you for having me.

 

Alison Werner

So I’m actually going to turn most of this conversation over to you. And for those who are watching the video version of this, Tony’s going to share a PowerPoint that kind of walks us through that. But for our audio listeners, he’s also going to just explain what’s there. So you can still get the same value out of this whole process and everything. But he’s going to walk you through the brand and design process for your orthodontic practice. And I think this will really be valuable because the process of working with a graphic designer is daunting, but you’re here to walk them through what to expect and how to make sure they actually get everything they need from the process so that it’s not contentious or hard or frustrating. So I’m gonna turn it over to you and let you talk to our listeners about this.

 

Tony Peniche

Yeah, absolutely. So I’ll go ahead and share my screen. And here we go.

 

So this kind of came about because I’ve worked with a lot of orthodontics around the country and when they hire an agency to redo their brand or design a graphic or update their logo, there’s a lot of frustrations that happen. You know, basically the first iteration that they get, they’re disappointed with. And I have to remind them that, you know, the first run that you get, you’re not going to like it. It’s called a rough draft and it might take five, six, seven, 10 different rounds before you actually get the logo or the design that you actually want. And you need to be okay with that and have that expectation. And it seems like it doesn’t matter how many times I say that and explain that to clients. It’s like they forget as soon as they see that first round of rough drafts. And then they say that, you know, the designer is terrible or that agency isn’t what they expected. And I just want to remind you that it is a, it is a design process. So expect that. So.

 

Alison Werner

Yeah.

 

Tony Peniche

Here we go. Um, the first question is, you know, do you really need to, do you need to refresh your logo? And I would say if you haven’t updated your logo in 10 years, you probably need to refresh it. Uh, I would say 95% of logos out there after about five years, they start to look a little dated and you need to just constantly be refreshing them. Um, so what I would recommend is every three years that you have an evaluation and you talk about it with your team and then every five years you probably gonna want to refresh it just a little bit. I mean, even the Nike Swoosh gets refreshed every few years. And a lot of people don’t even realize that, but yes, the Nike Swoosh even gets refreshed every few years. What I’m showing here is a video with terrible audio. Yeah, okay. It’s a video of the Taco Bell commercial, or not, Taco Bell logo being updated, the Starbucks logo being updated. Now it’s showing Pizza Hut.

 

Um, and you can see it’s still on brand. It still looks like the same company. Um, it’s just refreshed, you know, they’re updating the colors, the typeface, and, you know, your fonts are one of those things that really does look dated pretty quickly. Um, but as you go through this process, remember that the first round that you received, you may not like. So now what I’m showing is a bunch of examples of a logo for a company called Northern lights. And you’ll see just how dramatic and how different they are.

 

Alison Werner

Yeah.

 

Tony Peniche 

And a client might see this first one and think, this is terrible. This looks like a sci-fi movie, um, or a horror movie. This is not what I was going for. And that’s fine. That’s fine to say that and tell the designers you don’t like that. They need that feedback. They cannot read your mind. Right. And so you tell them what you don’t like, and then you get another round. And then you tell them again, what you don’t like, but hopefully what you’re telling them is what you do. Like maybe you start to see a little ember of something that is moving in the right direction. You say, okay, I like this element over here and tell them to explore that element. And then as they continue to explore it, all of a sudden it becomes something totally different. So in this first series of logos, you know, there’s like these like lines and then all of a sudden they’re playing with light and sun and there’s like chickens and trees. But by the time you get to the end, you’re really just seeing a cup of coffee with lines coming out of it, almost like it’s shining. And so you can kind of see how far it’s evolved and went.

 

But you have to communicate. You can’t go silent and just sit there frustrated and kind of pissed off that you don’t like the logo, which is what we see all the time. Clients not communicating with the designers. Here’s another one here where they took a photo of a lion and they changed it into one layer. And I could imagine a client immediately going, this is awful, what are you thinking?

 

But not realizing that it’s going to evolve. So the question isn’t do you like this logo? The question is do you like this concept? Do you like the idea of a lion? Sitting and looking at him from the profile from the side if you like that concept Then we can continue to go down this rabbit hole and see what we come up with

 

Alison Werner

Well, I think that’s the thing to point out that it’s about the initial design, the concept, then it’s figuring out what does that mean over the evolution. And that’s where that input comes in, correct?

 

Tony Peniche

Absolutely, yeah. And again, I mean, I tell clients this constantly over and over and over again, and then I still get that phone call and I still get that email that they’re just so frustrated and they hate the designs that designer came up with. And I’m like, oh my gosh, like, is this the first round? I’m like, I told you, you’re not gonna like it.

 

Alison Werner

Yeah, yeah.

 

Tony Peniche

So what I’d like to do now is actually draw something. So if you’re at home listening to this audio, I recommend that you pause this for a second, go grab a piece of paper and a pen and then hit play again. Everyone else, grab a piece of paper, grab a pen, and we’re gonna draw something real quick. So Allison, are you gonna play along?

 

Alison Werner

Okay, I’m ready. Yeah, I’ll play along, I’m ready.

 

Tony Peniche

All right, so Alison doesn’t know what we’re doing either. So the first thing I want you to do is, on your piece of paper, I want you to draw a very large circle in the center of the piece of paper.

 

Alison Werner 

Nope.

 

Tony Peniche 

All right, now off to the left side of that circle. I want you to draw a slightly, you know, maybe like half the size, draw a circle that overlaps the first circle off to the left side.

 

A circle overlapping a circle. Now within that smaller circle, I want you to draw like a sideways oval towards the base of that second circle. So now you’re just drawing an oval.

 

Now above that little oval, I want you to draw two small circles right above it.

 

Alright, now remember the second circle that we drew the second biggest one on the top of that coming off of it. I want you to draw two triangles.

 

Now, looking at the largest circle and the first circle that you drew, hanging off the bottom of it, I want you to draw four little rectangles coming off the bottom of it.

 

Alright. And lastly, off to the right side of the largest circle. I want you to have like a little squiggly line kind of coming out the side of it off to the right.

 

Now, did you get a pig?

 

Alison Werner

Yes. I’ll put my pig up. I think it does.

 

Tony Peniche

Does yours look like a pig?

 

So oftentimes, this is really what we see oftentimes is – does yours look like the bottom one over there?

 

Alison Werner

Uh, my ears are a little too far in. They’re not out to the side, but I would say yes ish. Oh, my legs are all at the bottom of the big body. Yeah, mine are like your bottom big one there. Yeah.

 

Tony Peniche 

Yeah. So, I do this all the time in our marketing course. And what I’m illustrating here is that, you know, let’s say we have like a hundred people in the room and we do this exercise. What happens is about 20 to 30% of the people in the room nail it. And it looks like the bottom one there. It’s like, okay, it’s close enough. It looks like a pig. And then the other one is 70 to 80% of the room. It looks like that top one where it’s like an abstract piece of art, you know, it’s just random triangles, random, random squares and circles that don’t make any sense and you know it just looks like abstract art. And the point is that I just explained everything as detailed as possible, as simple as possible. Everyone hears the exact same thing yet everybody interprets it a little bit differently. And so sometimes you end up with the result that you wanted and but oftentimes you end up with these abstract interpretations of what was intended. And that happens with your communication as well. You know you think that you are communicating that you offer

 

Alison Werner 

Yeah.

 

Tony Peniche

treatment for adults and treatment for children or that your logo is crystal clear that it communicates that we’re from this part of town or we represent this vibe or this brand. And people interpret it completely wrong no matter how dummy proof you try to make it. I like using the example that Steve Jobs used. When he was releasing the iPod, he didn’t talk about it’s got 500 megabytes of storage, it lasts 12 hours, it does all this, it has a touch screen. 

 

He didn’t talk about any of that. What he said to market the iPod was, it’s a thousand songs in your pocket. It’s so simple. It’s a thousand songs in your pocket. It’s a concept that everyone can wrap their head around. You don’t need to know the details. And so I’m encouraging all of you, when you’re doing your logos or you’re communicating or you have your taglines, it needs to be a lot more simple and thoroughly explained than you realize because everyone’s gonna interpret it a little bit different. So don’t just assume that everyone gets it.

 

Alison Werner

Yeah, I think that’s a really great point and a really good exercise to illustrate that. I imagine.

 

Tony Peniche

Yeah, it’s really fun with a big group too. So actually, you know, if doctors, you’re listening to this, I recommend that you get your staff together and play this little game. I can send you this photo if you want. Uh, just make sure that nobody sees it in advance and then do it with the team and they’ll start to get it that. You know, you think you’re communicating crystal clear, but you’re not.

 

Alison Werner

Yeah.

 

Tony Peniche 

So the other question is, do you really need a brand deck? What I recommend that you do is you put everything on the table, so go to your office, grab every piece of paper, every envelope, business card, the gifts that you’re giving at starts, or the gifts that you’re giving at devants, or the start folder with all the other useful information. Put it all on the table, all next to each other, and look to see, are the colors matching? Are the logos matching? Are they the right proportions?

 

How many fonts are we using here? We should only have one or two fonts. And what happens when I go into offices and we do this is the visual I’m showing right now is Silver Lake Orthodontics. Now they are an incredible practice. They’ve cleaned this up. They are crushing it right now. But we did this exercise about 18 months after they opened. And after 18 months, they were already varying off course. You can see that there’s about a dozen different shades of teal here because they weren’t using a brand deck and they didn’t have the color code. So they were just going, I don’t know, teal.

 

And then with the logo, you can see sometimes it’s white, sometimes it’s teal, sometimes it’s black. There’s no consistency there. And then when it came to fonts, when I was walking around the office, I think there was like over maybe like 15 different fonts that they were using. They were just kind of like winging it for different social media pieces or different marketing flyers. And so it was very clear that they needed a brand deck that explained every little detail of how to create assets for them.

 

And I recommend that every office that you all do this, and really just kind of second guess yourself if you’re doing it correctly. And obviously the whole point is you wanna be recognizable the same way Starbucks is recognizable from two miles away. Like you can’t read that sign, but you can kind of see that green awning and you know that’s a Starbucks, you know, a mile down the road. And we want everyone to be able to recognize your brand as well, but it won’t happen if you’re not consistent.

 

So this is a good example of a brand refresh here. So Urban Orthodontics, they’re in New Jersey. And this is actually one of my earlier clients from about five years ago. And Leanne was explaining to me that, you know, this office is really, really fun. They play hip hop music in the clinic. The doctors wear Yeezys. The staff is really diverse. The community is really diverse and it’s very fast paced. And just music is heavily influenced in this office.

 

But then when I cut there and I looked at their brand, it did not look like New Jersey. It did not look urban or diverse. It looked like it was from middle America. Right? Yeah. They’re like urban. I’m like, what does urban and horse have to do together? Like they don’t relate. It really did look like the Indianapolis Colts, you know, logo and branding. So it just didn’t make sense. Basically the brand didn’t match the vibe. If you only saw the brand and then you walked in there, it would be not what you expected at all.

 

Alison Werner

That’s a horseshoe. It looks like a horseshoe.

 

Tony Peniche

So we hired an agency called Humanity, but you can use any agency you want. And what we did is we immediately redid their colors. So you wanna have your CMYK colors. And so you’re not just gonna say, my color is blue and orange and gray. What you’re gonna say is, it’s blue and the Pantone color is this, the CMYK color is this, and the RGB color is this. And just to make it really simple, CMYK color codes.

 

That is for anything with print or anything with ink that you can actually touch and feel. And then RGB color codes are for your computer screen and they’re totally different. If you’ve ever taken a photo, pulled it off the internet and printed it, you probably noticed that the skin tone on the person that you printed, the skin tone is like all like really orange or red, really wonky and the colors don’t match up. That’s because you’re trying to print something that’s an RGB rather than trying to print something that’s coded for ink on a printer.

 

In this brand deck, you’re also going to have your fonts. So oftentimes there’s two different fonts. You can get away with one as long as there’s a lot of variation to it, like different thicknesses and scale. But oftentimes brands will have two different fonts that play well together. Your texture layers. So if you’re going to have texture layers to give your designs a little bit more movement, a little bit more rhythm, it’s good to have those texture layers planned out. You want to have your brand values.

 

So what do you stand for? What’s important to you as far as what we’re communicating? What’s that vibe that we want people to get? And then also what’s the voice? Do you want your office to come across as, you know, progressive, intelligent, scientific, you know, or do you want it to come across as like wholesome and authentic, or maybe you want to be funny and you want to be, you know, charismatic and witty with all your communications, kind of like Dollar Shave Club.

 

You just have to decide that and then put that into the deck. So that way you can hand this off to someone else later. Finally here you see, go ahead.

 

Alison Werner

I was going to ask with that brand voice and those values, is that something that the team should kind of sit and work on before they turn their kind of wish list over to the marketing agency and the designer?

 

Tony Peniche

Yeah, that’s something that you, so you’re going to have a series of conference calls with the designer or with the agency and they should be asking you those questions and if they don’t make sure you bring it up then, uh, because not, not all of them do it, but the more progressive ones like humanity, neon canvas, hip creative, they all know what’s up. They, they, they compete at this high level. Um, and they’ll, they’ll walk you through that process. Land of Yawg is another good one. Um,

 

So what I’m showing now is sort of the after logo. You can see here that this logo really does feel like urban orthodontics. Within the logo, you can see the silhouette of a skyscraper, which really just screams urban. It has a rough texture to it. It feels more like what you would expect based on the experience. And once you have the brand deck, and that’s just a sample by the way, there’s a lot of other stuff that can go into it, but once you have the…

 

the brand deck, then you can give that to anybody. You can give it to a designer in Europe or in Asia, and they can design flyers for you or websites or business cards, whatever you want, and it’ll look like your brand. So here I’m showing some business cards, some envelopes, and the letterhead, and you’ll even see in the letterhead that texture layer in the background of the letterhead. It’s really subtle, but it’s important to have that.

 

Alison Werner

Right. Yeah.

 

Tony Peniche

On all of their brand elements because they’re urban and they’re heavily inspired by music. And so they want to have that movement rhythm to everything that they do.

 

Tony Peniche

Then you can also create your social media templates. So if you’re going to have a social media post that is design heavy, you know, what do those design elements look like? Almost post and then your website, you know, this is actually an example here where they gave that brand deck to a third party and built them. This is a pretty basic website, but they were able to design it perfectly on brands just by having that brand deck.

 

And then here you can see the before and after where basically went from Indianapolis Colts to urban orthodontics that feels like premium, but urban orthodontics, it’s pretty cool.

 

Alison Werner 

Yeah. Right.

 

Tony Peniche

But again, like I said before, like the design process though, like that logo did not look like that on the first attempt, right? There was probably like a dozen different iterations of that logo before we got to this point. And so you need to have that expectation. Do not get mad at the designers, do not get mad at the agencies and do not call me after the first round complaining that it’s not what you wanted. I told you it’s not going to be what you wanted.

 

Alison Werner

Hahaha

 

Tony Peniche

Um, if you want to start playing around with them, um, and really test yourself, like, are you good at commune? That’s a real question. Are you good at communicating what you want? What you can do is download this app called Arvin and it’s an AI app. Um, I think it was like 40 bucks for the year and it’ll design logos for you. You tell it what type of logo that you want, and then you give it all the instructions and the descriptions of what you want and let’s see if you’re good at communicating, because if the AI can’t figure it out, then it’s not really.

 

You know, the issue may not be the designer or the AI, the issue might be your communication skills. Do you even know what you want? And if you don’t know what you want, that’s fine. You just need to communicate that with the designers as well. And they’ll sort of help you navigate that. And they’ll try a bunch of different things. And then you’ll find a direction that you want to go down. And then you just go down that rabbit hole with them.

 

Another thing with logos is I really recommend that you make them simple and intuitive to understand. What I’m showing now is an example from one of my buddies. So I consult for a lot of businesses outside of orthodontics as well. And one of my buddies is starting a vending machine business that’s going to sell like premium gourmet meals, like ready-made meals in these vending machines. And he wants to call it foodie stash. And he kept trying to get too creative with the logo.

 

icon where at first it looked like, I think he said it was supposed to look like a vending machine, but to me it looks like a jukebox or something with a bite taken out of it and then a leaf growing off of it and it makes no sense. You’re like, what? That makes no sense. And then the next one looks like Mario blocks or something.

 

Alison Werner

A leaf growing out of it.

 

Alison Werner

Later.

 

Yeah, boxes, yeah, exactly. And then the other one looks like a piece of cake on its side with a bite taken out. Mm-hmm.

 

Tony Peniche

Yeah, you’re like, what is this? And basically he’s just trying to get too creative with it. I’m like, someone needs to understand what it is from a hundred yards away and it should be intuitive. And so on the right side, you see the more intuitive one where, yeah, it’s a basic simple couple of circles that implies a plate and then a silhouette of a fork within the logo for Foodie Stash. And it’s, you see that, you get it right away. No questions.

 

Alison Werner

Right.

 

It’s kind of the argument that you don’t have to be literal all the time in terms of literally showing exactly what your product is in your logo.

 

Tony Peniche 

Yeah.

 

Tony Peniche

Yeah, you’re like, it’s a vending machine. You’re like, cool. Like, it doesn’t look like it, but cool.

 

Tony Peniche

So I recommend that all of you really ask yourself, do you really understand your own brands? And does the community see the practice the same way you do? Just like earlier when I had you draw the pig and I was communicating as clearly as I possibly could. And yet the majority of people out there probably heard me completely wrong, even though I thought it was crystal clear. Ask yourself, does the community see the practice the same way you do? And then make sure you’re crystal clear on what the message is or the vibe that you’re trying to project out into the community. You’ve got to question that.

 

Alison Werner

Do you have any best practices for practices in terms of maybe getting a little focus group of patients or community members? Like should they, I’m guessing staff isn’t always the people to go to ask like what’s your impression of us in the community?

 

Tony Peniche

Yeah, I like that idea a lot actually. Yeah, sometimes it’s not good to ask the staff because they’re too close to it. And when you ask them the question, their responses are gonna be what they think you want to hear, not the honest truth. So if you have a couple of super fans, some parents or some patients that adore you and have a great relationship with, maybe like have it on a questionnaire either on a clipboard or on a Google form and just let them fill it out and do not influence them at all. Just give them the raw questions. Don’t explain why or how or anything. Just don’t influence them. Let them answer it and see what they come up with. Maybe do that with, you know, try to aim for 20. You know, if you’re doing it with patients, you have plenty to work with. So try to aim for 20 pieces of feedback there.

 

I like that idea. Good job, Allison. So the next bit is Fiverr. So most everyone has heard of Fiverr at least one time or they’ve already used it before, but it’s usually used, people aren’t using it the way they should be. They’re graphic designers and video editors and photo editors all over the world and they all go on Fiverr, or not all of them, but a lot of them go on Fiverr and…

 

Tony Peniche

They’ll put it out there where it’s five bucks, five bucks and beyond, and they’ll design a flyer for you. They’ll design a logo or a magazine cover. When this company first started, it was about $5, and you can still find that, but oftentimes now, they’re a little bit closer to 15, $20 to hire them to do something. And what I recommend that you do is rather than paying your staff member, a lot of you have your TC’s or your office manager is doing designing your flyers and managing your social media. And you’re paying them, let’s say $25 an hour, $28 an hour. And if they have to spend two or three hours on it and go back and forth and do rough drafts and show the doctor and get approval and all that, you’re spending, you know, 75 to $100, maybe more in salary for them when you could actually just go onto Fiverr and pay someone a flat fee of 10 bucks or 20 bucks and they’ll design it for you. And you get multiple iterations from them because these people, this is all they do. This is their bread and butter all day, every day. They just design. And so they’re fast and efficient. What takes your staff member two to three hours to complete in total, it’s gonna take these guys like 15 minutes, because it’s easy for them. And so what I recommend that you do is, go ahead.

 

Alison Werner

And you’re, oh, I was gonna say, and you go to them with your brand assets. So you already have your fonts, your colors, your textures decided on, and now you’re kind of at that next stage. Yeah.

 

Tony Peniche

Correct.

 

Tony Peniche

Absolutely. So I’m recommending that everybody do a budget of $200. It’s a $200 investment. It’s not much. Go on to Fiverr, pick 10 different designers that are all around 15 to $20 a piece and give them all the exact same project. Do not change anything. Otherwise you’re gonna mess it up and you’re not gonna get the results that you want. So give 10 designers the same project. You’re gonna explain what you’re wanting, the sizes, the dimensions. You’re gonna provide the colors, the fonts, the brand deck ideally.

 

and all the words that have to go on the flyer and give them all the same project. And then two days later, you pick your favorite. And then that’s your designer now. So maybe you, maybe you pick like two or three designers that you’re like, man, these are all really good, save their contact information. And then now I want you to think of them as these are your graphic designers. These are your employees. They just happen to work remotely and you only pay them per project.

 

Alison Werner

That’s a really great tip.

 

Tony Peniche

And then you tell these designers, you say, hey, this is not a one and done. I’m going to hire you a bunch in the future. So save these logos, save this brand deck, save these fonts for the next time I send you a project.

 

So I highly recommend everybody do that. Um, it’s going to make your life a whole lot easier. If you try to go to your web designers to have them do it, some of them offer those services, um, but oftentimes it’s going to be a lot more expensive. You know, I know humanity, if you want them to do a flyer for you, you know, it’s really good, but it’s going to cost 350 bucks. That’s kind of like their standard fee. Um, I’d rather just pay someone 20 bucks and give them a brand deck and it’ll be close enough or just as good.

 

Alison Werner

Right.

 

Tony Peniche

All right, so the last couple of things are more about tips to make your lives a little easier as you’re designing stuff. So team photos. Um, I really recommend that everybody start. Well, first I recommend everybody stop doing group team photos where you get all your staff members together. You go outside, you stand in front of a bush or a tree or whatever, that, or a brick wall, like everybody does. And you take this group photo and then literally six weeks later, somebody quits or retires or you hire somebody new and you got to take the photos all over. Again.

 

Alison Werner

Oh yeah.

 

Tony Peniche

It’s like, this doesn’t make sense. The average employee of an orthodontic office in America is only with you for 18 months. Yes, some people are with you for 20 years and 30 years, and that’s amazing. But some people are only with you for two weeks or, you know, six months, but it’s a 18 month turnaround on average in America for orthodontic employees. And so what I recommend that you do knowing that is hire a really good studio photographer, it cannot be a natural light photographer. You have to find a studio photographer.

 

Alison Werner

Mm-hmm.

 

Tony Peniche 

that knows how to use strobes. And what you want to ask them to do is, you want them to do a composite team photo. And what they’re gonna do is they’re gonna shoot everybody on a white backdrop individually by themselves, and then they’re gonna Photoshop you together and it’s gonna look like a group photo. And I promise you, if it’s a good photographer, you won’t know that everybody was photographed individually. It should look legit.

 

Alison Werner

Okay.

 

Tony Peniche

And you see this all the time with the NFL and sports teams. Like that’s how everybody’s always shot. You don’t do group photos. It doesn’t make any sense. Just as long as you’re shooting it on a white backdrop, that’s blown out and the photographer knows what they’re doing. You can composite them together and so much easier. And now when somebody quits, you just click delete in Photoshop and they’re gone in one second, um, and then re-export the photo and there you go. There’s a new, there’s your updated group photo. You don’t need to invite the photographer back out.

 

Alison Werner 

Mm-hmm. Yeah.

 

Tony Peniche

And if you hire somebody new, you just send that one employee to that photographer studio by themselves. They duplicate the style of photo, they Photoshop them in, and now you updated your group photo. It’s so much easier and everyone needs to be doing this.

 

Alison Werner

Absolutely. I mean, I think this might be the best takeaway.

 

Tony Peniche 

So everybody listening, again, it’s called a composite team photo. And you need a studio photographer to be able to do this, not a natural light.

 

Um, okay. So the next cool tools, um, artificial intelligence, everyone’s always talking about this now, um, I’m a huge nerd, so I do deep dives into this and I love it. Um, but it is overwhelming for a lot of people. And so to sort of calm everybody down and make it more digestible, um, there’s two websites I want you to be familiar with. One of them is called future tools.io. And the other one is futurepedia.io. And these are aggregators of all the AI apps that are out there and websites that are out there. And so you just go in here, type in the search bar, you say text to video, or you say photo enhancer or copywriter or whatever you want it to be, or no code apps. Like you can actually design your own apps now without needing to know any code. You just tell it what you want and it makes the app for you.

 

Tony Peniche

And so anyways, these websites are gonna make it a whole lot easier for you to like find everything that’s on the market. It’ll show you the reviews, you can preview them before you actually buy them. And it’s just putting it all into one place because I know it’s very overwhelming right now.

 

Alison Werner

Absolutely.

 

Tony Peniche

I’m going to show you two apps that I really like and then we’ll wrap it up. So the first one is called Remini. So Remini, I recommend that everybody download this right now. I don’t care who you are, download it. Trust me, you’re going to love it. It’s a photo enhancer. So you can take these low resolution crappy photos that you uploaded on Facebook years ago that you don’t have anymore. So the only version you have is that low resolution crappy Facebook version. And you put it into Remini and it enhances it.

 

and restores it and it all of a sudden now it becomes high resolution. It’s super detailed. And what I’m showing on the screen here is one of our team members, Pam. She sent me her updated headshot and wanted me to put it on the website, but the resolution was so terrible. So I ran it through Romini and now it looks like a professional, high grade, beautiful headshot. Um, I mean, it’s pretty remarkable what it can do.

 

Alison Werner

Yeah, it just makes everything crisper.

 

Tony Peniche 

Um, and yeah, um, and it’s super detailed. Um, and a good example here is I actually did a photoshoot, um, years ago called the Burnside hijacking where I literally hijacked the Burnside bridge in Portland, Oregon, uh, where we forced the bridge to lift so that way a boat can go through, but the city wouldn’t let me do it. So I ended up doing this technically illegally, um, and h- hiring my own, my own yacht to like go down the river to force it to lift.

 

Alison Werner

Uh-huh.

 

Tony Peniche

To be able to pull off this photo shoot. It was really, really fun. But I ended up getting my hard drive stolen like a few months later, like somebody came into my photography studio, stole my bag and my bag had my computer in it, but also had my backup hard drives in it. And so I lost all the high resolution copies of these photos and I was pretty devastated. And then it wasn’t until literally just last year that I found out about Ramini and I was able to restore these photos. As you can see here in this photo,

 

I’m showing, you know, you can kind of see it’s a cool shoot, but when you zoom in on it, it’s just so degraded and you can’t see any of the details. And then all of a sudden I was able to restore it. And now if you look at her eyes, look at her hair, look at her necklace, I mean, it’s so detailed now. I have no idea how this artificial intelligence is figuring this out, but it’s pretty remarkable.

 

Alison Werner

Oh wow, yeah.

 

Tony Peniche

You can also create new headshots. So if you don’t like the headshot that you have for your office, you can upload some old photos of yourself and then it’ll create these new headshots for you. And they look legit. I mean, it’s really hard to believe that these are fake.

 

I’m not gonna lie, that’s my buddy Phil, he’s single, and I did that for him, so he could use these for his dating apps. He would kill me if he found out, I’m telling you guys this right now. I also did it to mom.

 

Alison Werner

If anyone’s interested in contact, we’ll supply it.

 

Tony Peniche

Yeah, you can also do some sci-fi stuff where it’ll create headshots of you, like in like sci-fi environments or, you know, more abstract stuff. It’s pretty funny. Um, and then the last.

 

Alison Werner

It could be fun for Halloween or some kind of holiday thing for an office to play around with that. Yeah.

 

Tony Peniche

Oh, totally. Yeah, that’s a great idea. Yeah. That’d be really fun. Um, all right. And the very last app I’m going to show you is called caption. Um, so I’ve been encouraging everybody to do videos. So especially like SOS videos. So that way you can have a YouTube channel with all your SOS videos on there. So that way patients don’t have to come in, um, for non things that aren’t really emergencies, you just send them that video and now they’ll, they’ll know how to clip the wire or deal with a bracket. That’s loose.

 

So here what you do is you can set up your ring light ideally and then your iPhone and then just and then just read a script that you know to the right or to the left of the iPhone and people don’t like doing that because your eyes aren’t at the camera. So now you can actually just go ahead and read the script and then this app called Captions will actually move your eyeballs. It uses artificial intelligence to move your eyeballs and direct them at the camera and it looks very natural and now it looks like a much more professional video.

 

So yeah, set up your scripts, put it right next to the phone, read it, and then use this app, and now you’re looking directly at the camera, and it’s pretty cool. It’s a little creepy, I’m not gonna lie, it’s creepy.

 

Alison Werner

It’s a little wild, but I’m kind of intrigued. Yeah. Well, Tony, thank you so much. I really appreciate that you kind of not only went through what you need for your brand assets and how to create that, but then all these tools that are out there that you are readily available, whether it’s hiring someone to do some of your collateral or fixing things yourself. And honestly, that photographer trip, I think.

 

Tony Peniche

All right, it was pretty fun.

 

Alison Werner 

That is a big one because I know personally, you know, I constantly am on practices websites and you know, and I’m like, I know that person left or, you know, or I that’s not the same amount of people in the bios as there are at the top. So definitely, I think that’s a really great tip. But if people have any questions or want to follow up with you, how should they get in contact?

 

Tony Peniche 

Yeah, then go to penicheteam.com and check us out. You can follow us on Instagram and Facebook as well. And if you wanna follow me on Instagram and all my crazy adventures and hear more about the survival games, I’m producing a TV show right now. That’s a survival TV show. You can find me at PenicheTony on Instagram.