Why three hours? Nobody has three hours.
Because it is the only part of this that cannot be delegated, automated, or faked, and because it is paid for once. Most firms have tried video before and it died in the same place — a shoot day, a rewrite, a second shoot day, and your own partners’ hours bleeding out of the side of the project for months. We move all of that to the front, into one recorded conversation about your practice, and then we do not need you again except to approve. If three consecutive hours is impossible, we split it into two sittings a week apart. The second one is usually better anyway.
What does the $2,500 actually buy?
A deliverable, not a proposal. The recorded and transcribed interview, a written report setting out what we intend to make and why, the film mapped segment by segment, a first-draft script for that film written out of your own answers, your digital twin built, and the list of every additional film we found hiding in the interview. The script is the part most people do not expect: it is written in segments on purpose, so the same material cuts down into three to five shorter films and a long run of posts. If you decide to stop there, you stop there and you keep all of it — script included.
Do I have to commit to a twenty-minute film?
No, and most firms do not. Most start with the pilot: one six-minute best-pitch film, then two trailers cut from it and published with different thumbnails aimed at different audiences. By the end you are not guessing which message lands — you are reading it. That is $2,500 for the sitting and $3,750 for the film, which is exactly six minutes at the published rate. It is not a discount and it is not a premium; it is a smaller piece of the same thing, priced the same way. What you decide to make after that is decided on numbers instead of opinions.
What does $750 a month actually get me?
Publishing on a schedule across every platform you use, every cut formatted for where it lands, fresh thumbnails, and your comments and messages watched. Then every month: a read on what pulled and what did not, changes actually made to whatever is underperforming, a written summary, a call with me, your Google Business Profile kept current, and a compliance pass over everything published. Quarterly, a longer look back and a re-ordered list of the films still waiting inside your original interview. The whole of it is set out on the price list under “What actually happens every month” — and if the monthly is not right for your firm, we will tell you that before you buy it.
You publish your prices. How are they this much lower than the quotes I have had?
Because most of what you were quoted was overhead, not output. Four things carry ours down: the expensive part of the work already happened at the sitting, so every month afterwards runs on a foundation that is already built; there is no account-management layer, no downtown office and no sales team; our own permanent studio does the work rather than freelancers billed by the hour with a margin stacked on top; and AI is applied to its full extent on every task where it genuinely beats a person. Not one of those four things touches the finished film. All four of them show up on an agency invoice.
Where is the work actually done, and by whom?
Strategy, direction, compliance judgment, and final approval are done in the United States by the producer. Production — editing, motion graphics, avatar building, asset assembly — is done by our own studio team in Central Luzon in the Philippines. They are our people, not a marketplace we buy hours from, and nothing they build reaches you until the producer has reviewed and approved it. We tell you this openly because you would find out eventually, and because it is genuinely one of the better things about us.
What actually separates you from the other AI video shops?
The interview, and who runs it. The tools are broadly available now and they improve every quarter; anyone can buy them. What cannot be bought is fifty years of sitting across a desk from business owners, asking how the thing really works, and then watching the results arrive year after year to prove you right or wrong. That is what shapes your film — what goes into it, what stays out of it, and what your buyers are actually listening for. Ask whoever else you are talking to who will personally run your interview, and what that person did for a living before this industry existed. It is a fair question. Ask us the same one.
Do you use AI to write and make everything?
We use AI as far as it will honestly take us, and we have written down exactly where the line is — see where we use AI, and where we refuse to. In short: AI drafts, cleans up, versions, captions, and delivers. People decide, rewrite, direct, and approve. Nothing goes out without a human reading it and the producer signing it. Where an avatar or AI presenter appears, we disclose it plainly. We will not pretend a synthetic presenter is a live person, and we will not let an AI make a claim on your behalf that a human hasn't sourced.
Am I locked into a contract?
We ask for 90 days on the monthly, because content takes about that long to show anything meaningful and a 30-day test tells you nothing. After that it is month to month. No multi-year agreements and no early-termination penalty — and if the monthly is not the right thing for your firm, we will say so before you buy it.
What do you need from me every month?
Two to three hours at the very start — the sitting — and then roughly an hour a month. That front-loaded block is the whole trick: it is the only time we ask you to think hard, and everything produced afterward is written out of it. Every film after the first one costs you about thirty minutes, because the foundation was built once. If you want to be more involved, we'll happily use you. If you want to disappear, the avatar covers you.
My profession has advertising rules. Is that a problem?
It is the reason we exist in this lane. We build compliance guardrails into the plan before anything is produced, and we route anything sensitive through legal review. We have spent fifty years working inside regulated professions and we have no interest in getting a client cited for a clever caption.
My profession is not one you have named anywhere. Does that matter?
No, and we have stopped naming professions on purpose. A firm that sells judgment, is careful what it says, grows by referral and is still run by the person who built it works the same way whether it practises law, sets bones, designs bridges, keeps books, or runs a network. If that describes you, we already know how your business works. If it does not, we will tell you on the first call and point you somewhere better.