It started in St. Louis — a handful of local clients and a camera bag we paid off in instalments. Then a Red Bull rep saw a promo we cut for a local gym. She called. We flew out. We shot. By the end of that year we'd been to Lollapalooza, F1 Miami, Red Bull Flugtag, and a dozen NUTRL activations.
Then 2024 happened. On a plane almost every week. Mykonos for a private yacht launch. Phuket for a Muay Thai card. Hong Kong for a rooftop activation. Tokyo for a product drop you probably saw on your feed. Dubai & Abu Dhabi for twin penthouse shoots and an F1 weekend. Oslo for a fjord brand film in February — one camera, one drone, −12°C. A hundred flights back home in between — Austin, Miami, LA, Vegas.
You've seen our work for years. You just didn't know it was us. The brands preferred it that way — every team we shot for wanted to own the footage under their own banner. So we stayed quiet.
That's over.









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Supercross
Hard seltzer activation
Event promo
Beach activation
Paintless dent repair
Event promo
Beauty lifestyle
Men's fashion brand
Brand film
Nightlife
Cowboy bar
Hard seltzer
Estate auction
Soft tissue therapy
Nightlife promo
Live music joint
Every frame you just watched came out of our studio. Red Bull activations, NUTRL rooftops, Two Friends mainstages, Shark Bar nights, Party Bus cinematography, DJ promos, F1 weekends, Lollapalooza crowds, Mykonos hotel color grades at 2am, Tokyo flights with the audio mix open on a laptop, Oslo drone flights at −12°C. We shot it. We graded it. We scored it. We shipped it.
We shoot like a feature-film DP crew but we think like engineers. Somewhere between brand shoots we started training AI models on our own footage — pixel for pixel, grade for grade, lens for lens — to answer one question: can we teach a phone to see the way we see?
The answer, after 18 months of model training, shader work, and a hardware rig our team built from scratch, was yes. We spent the last year building the software layer on top. We're calling it Magnet Cinema.
Real talk.
If your business is doing under $3M a year, you don't need a full-time videographer. You need one killer shoot a year — max. Everything else is a distraction.
If you're doing under $1M, your problem isn't content. It isn't social. It's leads. Everything else is noise you're paying someone else to make.
💡 Read between the lines. When a video studio cold-walks into your business with a pitch deck about how videos generate hot, qualified, in-market leads — stop. If their videos really generated hot leads, why are they knocking on your door cold? Whatever they do to grow their own agency — that's the product. The videos are the receipt. Not the engine.
So we built the software to scratch the itch. PROJECT ARIES — an iPhone in your pocket, thirty minutes of training, and ads that look like a $5,000 shoot day. For pennies.
Fire your agency. Hire yourself.
An iPhone 14 in your pocket. An AI director in your corner. A 30-minute course that tells you where to point it.
I built Magnet because the clients I was signing for Instagram growth kept asking the same follow-up: “Can you shoot the video too?” Most agencies answer that by hiring a kid with a camera. We answered it by building a real production studio inside a marketing company — DPs, colorists, sound mixers, drone operators, editors, the whole pipeline. Same team. Same Slack channel. One invoice.
Six years later that studio has shot Red Bull, NUTRL, PBR, Two Friends, F1 weekends, Lollapalooza, and roughly 80% of the brand films you've seen on Instagram in the last two years. Top-to-bottom: software, AI, hardware, color, sound, lens choice, shot list. We don't just shoot. We engineer the frame.
Magnet Cinema is ours. It's going to embarrass every agency charging you $5,000 a shoot. I can't wait for you to use it.

If you're doing under $3M a year, you're the reason we built this. If you're doing more, you get the Magnet production team in person.