YouTube Euphoria: How JMaverick Studios Went from 0 to 1,000,000 Views

We should preface this next article by saying that we at JMaverick Studios pride ourselves on our humility and professional modesty, and that we don’t like to brag. Often, that is. But we have recently hit a threshold that we think is worth dedicating an entire blog feature to, and that is that the JMaverick Studios YouTube channel has just officially surpassed the 1 Million views mark.

That’s right: one with six zeros after it.

But that incredible benchmark notwithstanding, this milestone isn’t all about numbers — though, we should remind you that we did hit the 1,000,000 view mark, that we have 48 public videos on our YouTube page, as well as 1200+ subscribers. As impressive as those metrics are, they really serve to tell a story: the story of JMaverick Studios ( Allow us to wax nostalgic, and return to our humble beginnings, to a timelapse video that Jeremy Williams, our founder, shot in his days up in San Francisco while working full time at the Fleishman Hillard PR agency.

In the Beginning: A Video Studio Is Born

It was in these salad days that Jeremy would ride around San Francisco with his friends on their bikes, and every so often he would capture timelapse videos of moments that would catch his attention. 10 months of shooting and over 30,000 compelling photos later, Jeremy finally sat down to compile all that he had captured, and the result was staggering. The entire project required 750 hours of rendering, only after which Jeremy was able to piece together the assets into 62 tilt shift timelapse sequences. Worth it?

los angeles video production company timelapse

Andrew Kent preparing the stop motion intro to Craft Beer – A Hopumentary

You bet. The final video Jeremy published drew immediate traffic, and was even featured in The Huffington Post, SF Citizen, KQED News, and Hope for Film. And in just 13 days, the video crossed over the 100,000 views mark. Jeremy realized that if he could generate this kind of interest with a video he made for fun, there was no telling what kind of success he’d meet with when he took these skills to the marketplace. This was February of 2008, and such was the beginning of JMaverick Studios, and the JMaverick Studios YouTube channel.

los angeles corporate video team at work

Steve Kaye, Matt Schleicher, and Andrew Kent operating the Dana Dolly for Craft Beer – A Hopumentary

Building on Streaming Success

From there, Jeremy continued to make videos, timelapse and otherwise, this time for clients big and small, in California and beyond. 2013 was a standout year, when JMaverick Studios released Craft Beer – A Hopumentary. The Hopumentary was a joint passion project between Jeremy, producer Phil Schulz, director of photography Matt Schleicher, Chris MacDougall, Andrew Kent, and Steve Kaye. Despite the video’s length (14 minutes and 30 seconds), the Hopumentary has managed to touch the hearts of viewers to become our most popular video — with over 370,000 views.

video production in los angeles california

Matt Schleicher, Chris MacDougall, Andrew Kent, and Phil Schulz interview Robin Biles from Zeitgeist

It’s achievements like this one that help reaffirm any studio’s mission and purpose, and in particular it tells us at JMaverick Studios that audiences are truly enjoying the content that we’re creating. In fact, they’re enjoying it at a rate of roughly 100,000 views a year, in case anyone was counting. That being said, these numbers only relate to videos uploaded to our YouTube Channel: the work we’ve produced for clients has garnered millions and millions of views, which we’re also overjoyed to hear. But it’s especially heartwarming to know that our labors of love and our pro bono work have also found a home in many people’s feeds as well.

So, if you’d indulge us just once more, we’ll end on this quick note:


Thank you.

Playing the Field: JMaverick Studios Makes a Video for FieldTurf

Being based out of California, we at JMaverick Studios ( are never at a loss for a sports team to root for. The LA Lakers. The San Jose Earthquakes. The San Francisco Giants. The LA Kings. And, of course, when it comes to football, we’re behind the San Francisco 49ers all the way. Big fans.

Pros Before Bros: A Digital Video for FieldTurf

And we’re also big protectors of our turf — literally, and metaphorically. For instance, we’re not that sweet on the Seattle Seahawks. Just the way we’re brought up in the NFC West. But we didn’t let our personal rivalries get in the way of working with FieldTurf, one of the most trusted and prestigious brands in the turf industry with over 20,000 installations around the world, who just so happened to lay field for none other than the Seahawks and (the notorious cheaters) The New England Patriots. We’re professionals, and FieldTurf is a great company — so we let that slide.

branded content video production for FieldTurf

Travis Prow and Jeremy Williams capturing macro shots of FieldTurf’s Cool Play system

FieldTurf is renowned for literally changing the turf game with their unique extraordinary invention. In 1997, FieldTurf introduced infilled, long pile artificial turf containing polyethylene (plastic) fibers, with sand and rubber particles between these fibers acting as artificial earth, all of which provide athletes with shock absorption and natural footing. This is big for people running around for hours at a time. This made traditional astro turf — made of abrasive nylon turf fibers, and absent any infill — obsolete and archaic. And good riddance, too. FieldTurf’s product became the turf of choice for such teams as the Atlanta Falcons, Detroit Lions, and Indianapolis Colts.

Corporate video production for FieldTurf

Light diffusion helped us achieve a balanced shot in our close ups

Calling in the Assist

The name FieldTurf commands respect in the field, and the company controls an already significant market share; and yet, a custom, high-touch video can only help to augment and complement a company’s image and brand. That’s where we came in. FieldTurf found JMaverick Studios through a simple Google Search (like, perhaps, you did 🙂 and fell in love with our reel and roster of past and current clients (like, perhaps, you did too :). Their marketing department, based out of Montreal, reached out to us and requested a quote for a video that showcased FieldTurf’s work with University of Redlands, Santiago High school, Mater Dei High School, and Del Mar High School.

Long story short: we played ball.

After only a few calls with Montreal, FieldTurf trusted us enough to shoot in the greater Los Angeles area, as well as send us up to the Bay Area to capture their handiwork in San Jose. The production, all in, was a rather involved process. We shot in Redlands, Corona, and Santa Ana in a single day — driving from field to field, and school to school. And you know the old cliche about LA traffic? Yup. We anticipated that there would be time lost in transit, which is why we spent so much time in preparation — planning and setting up locations beforehand in order to grab the best footage possible given the rush and the constraints. And by using our drone, we were able to capture high-quality aerial shots of the field with relatively easy set-up and break-down.

Los Angeles video production company at work

Travis Prow checks the lighting on a shot while Jeremy Williams reviews the interview questions

By balancing our endurance with quick bursts of energy, we managed to capture all the footage we needed at each of the schools. What we delivered to FieldTurf is a flashy video they’ll be able to use as their brief, and impressive, humble brag.

You Can’t Stop the Beat: A Social Media Campaign for Beat Lab Academy

Last week we talked about using music to enhance the overall impact of a video. This week, we’re talking about a client who specializes in making music — for the sake of making music. They’re a company called Beat Lab Academy out in Eagle Rock, Los Angeles, and we created video content for them that they could then publish through their social media channels.

Playing to the Beat: Branded Content for Beat Lab Academy

Beat Lab is like graduate school for electronic music producers. We could go on and on praising the work they do there, but maybe it’s best to let Beat Academy speak for itself. Here’s a snippet from their website:

Beat Lab Academy offers beginner to advanced electronic music production courses using Ableton Live. We’re the first school to offer computer music production in a collaborative platform. We have award-winning instructors and a unique, dynamic classroom featuring circular group learning to engage students to make music collaboratively in a hands-on environment.

As you can imagine, a number of really talented, really dedicated, and also just really cool students and musicians attend and graduate from the Academy. In particular, Beat Lab wanted to document some of their graduates who then went on to become not only circuit musicians, but also instructors at their alma mater. We couldn’t just produce any run-of-the-mill videos: we had to get in the Lab and capture that hands-on experience they’re famous for.

Video production team in Los Angeles at work

Travis Prow and Danny Orona framing the perfect shot

A Video Production Team and Three Music Producers Walk into a Studio…

Beat Lab has a sizable operation in Eagle Rock, complete with a classroom, main studio, and two individual recording studios. For the general interviews, we started in the main studio. We interviewed three of Beat Lab’s musicians: Jane Choi, who goes by the stage name SYNTAX, has laid beats at Brighter Future and Kaleidoscope; Damon Steele who’s remixed songs for the Los Angeles Music Project and Acid Stag; and Emiliano Almeida, aka Two Plus, an absolute master in the studio and on the drums. We wanted to capture these artists’ journeys from production, self-trained enthusiasts, to Beat Lab students, to their work beyond.

LA video production team at work on 360 video

Jeremy Williams conducting an interview with Damon Steele

But we didn’t just want to hear them talk about music — that’s a little counterintuitive. After a little talking head one-on-one, we wanted to see them in action. So once the interviews were done, we took each artist into one of Beat Lab’s private studios, and essentially got to watch them work (or play, as the case may have been). They got right down to tweaking tracks, recording new beats, mixing, and playing the drums, in real time — kind of like they were teaching a mini master class. This was part of the company’s second objective with these videos: to showcase the former students’ relationship with Ableton and their connection with the academy itself.

Los Angeles video crew creating 360 video

Travis Prow capturing b-roll with Damon Steele

The shoot took place on August 10th, and the final videos should be completed in mid-September. All in all, we will be delivering three musician profiles, three Ableton promo videos, and a Beat Lab Academy video. The videos will serve to both educate the public on the great work happening at Beat Lab Academy, as well as inspire the next generation of electronic musicians as they enter into the world of music production.


How Do You Like the Sound of That? Timelapse and Sound Design

Video Production Sound

Even before the advent of the “talkies” sound contributed hugely to the the entire effect of film (just think of the musical soundtracks to silent films). Fast forward a few decades, and we arrive at Francis Ford Coppola, who said, “Sound is your friend because sound is much cheaper than picture, but it has equal effect on the audience – in some ways, perhaps more effect because it does it in a very indirect way.” And though all of our videos involve some element of sound, we’d like to highlight a little passion project our founder Jeremy shot with… LEGOs.

ProTools timeline displaying the placement of sound effects and music

Ever since Jeremy was a kid he’s enjoyed playing with LEGOs — and honestly, who hasn’t? This particular video documented the unboxing and assembly of the Imperial Trooper Starter Pack, in 4K. In preparation for the video, Jeremy bought himself a Lazy Susan turntable from Bed, Bath & Beyond, and draped over it some white cloth. This set piece matched the backdrop — white — that is Jeremy’s office. The neutral color allowed the LEGO pieces to stand out and stay front and center. Then, it was time to build and shoot.

The most logical shooting style for this would be a timelapse video, another of Jeremy’s childhood favorites. There were 112 unique pieces in the LEGO kit, and it took three days to both build the Imperial Trooper set as well as shoot all the still frames that comprise the final video. The more than 200 RAW still photos Jeremy took were then imported into Adobe Lightroom, where he proceeded to color correct them to achieve a visual consistency across each shot. Once that phase was complete, he migrated the photos over to Premiere, where he could begin the editing process.

social media content creation of viral video

Behind the scenes of a stop motion LEGO shoot

Video Post Production: The Long and Short of It

That phase took the bulk of the time. Not only did it take some time for all those RAW files to render, but Jeremy also applied Adobe’s new Morph Cut transition between the shots to make the pieces seem like they were magically appearing on top of each other, rather than using the more abrupt jump cut. The post-process took two weeks, but as you can see from the video, it was totally worth it. And like we said before, this was a labor of love.

Adobe Premiere timeline with photos in place

But, that was really only half the project. The visuals for this video are cool enough (if we do say so ourselves), but what is essential to the overall impact is the soundtrack. It turns the video from being a mere instruction on LEGO construction, to a mini action flick. What might be underestimated as background noise or fill actually underscored, emphasized, and even helped to produce a feeling of enthusiasm and excitement. The final video was sent to our sound designer Alex Stickroth, who created the Lucasfilm-worthy soundtrack. Because there wasn’t any traditional conflict or rising action in this video, the music served to compose the story elements, striking viewers’ attention, like Coppola says, in an indirect but nonetheless significant way.

In Living Color: Bringing the Frame to Life

As they say in show biz, there are three stories to every movie: the one the screenwriter writes, the one the director shoots, and the one the editor cuts. As for this last one, if an editor’s cut is like a story, the coloring of that cut is like the typefacing — it can change, and often improve, the look and feel of the final video.

los angeles video production company editor

Video production editing process

Case in point: we worked on a project with The Electron Shop and Tres Agaves last year, but the videos we colored are still generating a remarkable amount of traffic to to this day. The Electron Shop is an agency in San Francisco that helps clients all over the country identify, integrate and take advantage of digital efficiencies to become more competitive marketers. Tres Agaves was their client, a tequila brand that distills and bottles out of Tequila, Mexico. Tres Agaves wanted to create a series of videos that featured their tequila (and for good reason, it’s damn good tequila) and illustrated why it was superior; but they also wanted another series of videos exclusively showcasing the history of Tequila, Mexico, as well as of tequila — the drink — itself. So we said, you pour it, we’ll drink it. And film it, of course.

Our team traveled up to Berkeley, California, Tres Agaves’ headquarters, and got right to work. We filmed 10 videos, each centered around a different recipe, as well as a sit down interview with Tres Agave’s CEO, Barry Augus. But that was just the beginning. After we wrapped that shoot, we shot down to Tequila to capture b-roll footage of the distillery, agave fields, and the lovely town of Tequila. All the footage was captured with a Canon C100, C300 and DJI Mavic Pro, with 12 stops of latitude for each camera. The raw footage was shot in a neutral color profile with a wide dynamic range. This was intentional: working with this kind of baseline color scheme allowed our colorist to enhance the footage with layer upon layer of detail and vibrancy.

Our colorist was able to take the footage and manipulate the grading to change the tone, feel, lighting and mood of each frame, in order to develop a style that was unique to Tres Agaves and helped them tell their story. As with any shoot, there were shots with lots of great elements, but requiring some punch-up: the sky might be blown out, the whites too white, or the dark’s too dark. Coloring footage can mitigate unexpected shooting errors, and can elevate video to cinema-status art.

After we wrapped the post-production on the videos, we shipped off the final videos to Electron Shop, which then took over the show. They developed and executed the full-spectrum social media strategy with the primary goal of building brand awareness for and audience engagement with Tres Agaves tequila and mixers. Thanks to their herculean efforts, and, we’d like to think, the coloring job, the videos garnered 85 million impressions and 5 million unique engagements on Facebook and Instagram. Bounce rate for videos on Facebook and Instagram is really high, and yet our videos receive a 46% completion rate — a remarkably high number, considering the video run times are between 45 and 150 seconds.

Twenty20 need two images.

It just goes to show you, if something looks good, it stays good.

Working with CrazyLister Was a Very, Very Sane Experience

We’re an equal opportunity production company, which means we’re prepared to take on clients at whatever stage of production they happen to be at. Some clients have their project ready to shoot; others still need help conceptualizing. CrazyLister is one of the latter. CrazyLister is a company based in Tel Aviv that created a platform to help merchants easily manage their product listings on eBay. They came to us to help create an video for them that would encapsulate the many benefits of CrazyLister in roughly… 120 seconds.

As an outsider, we were perfectly positioned to help them communicate their brand message to an audience that might not already be familiar with them. During the pre-production stage, our contact at CrazyLister engaged us to identify questions that would yield illustrative answers that could then be used to construct a good story arc for the video. We identified two core messages during our interviews with CrazyLister that we wanted to guide the video. They were that

  1. First, their main features save A LOT of time. Their competitive “bulk template apply” feature allows merchants to take a template and apply it to as many eBay listings as they like with a single click. This is big.
  2. Secondarily, CrazyLister is the easiest to use eBay listing software out there. The founders of CrazyLister had been eBay sellers for 10 years, and won multiple eBay awards, so they know exactly what sellers need to be successful on eBay. In turn, they built the software to increase efficiency while at the same time being satisfying to use.

After reaching this 10,000 foot view of how we wanted to video to play out, we were able to get down to the details. CrazyLister identified the merchant they wanted us to feature in this video, a company called Dressed Up! in Tarzana, California. From their brick and mortar store, Dressed Up! specializes in women’s apparel while also managing hundreds of eBay listings every week. They were a perfect candidate for our video, and a perfect partner for CrazyLister, considering the sheer volume of their listings.

Using the CrazyLister brand overview, we then crafted a series of questions we asked Michael Weintraub, owner of Dressed Up!, in order to tease out how the program was working for them. Here are a few interview questions we posed:

  • Walk us through the process of posting items online before CrazyLister.
  • There are a lot of listing services out there, why did you choose CrazyLister?
  • Talk about the team at CrazyLister. What stands out to you about your relationship with them?

Once we finalized our “script”, we were nearly ready to shoot.

But before we could step foot in the store, we had to develop a plan that would guide us on the day of, as well as give CrazyLister some clarity and communicate our vision to them. An outline also helps us identify what kind of b-roll we will want to capture on set to use in the editing room later. We finished shooting with about 30 minutes of interview footage and our editors are currently whittling the footage down to 2 minutes. Keep an eye out for the final video!

Los Angeles video production company at work

JMaverick Studios’ video production for CrazyLister!

Had we not put in all that prep work, the project timeline would likely have been much longer, requiring reshoots and many more hours in the editing room to come up with a strong narrative. But JMaverick Studios ( doesn’t play that way.

Going Pro… Bono for The American Cinematheque

Any company worth its salt should get involved in some kind of pro bono work — whether that’s community service, charity work, or mentorship programs. We at JMaverick Studios do our share of revitalizing the Los Angeles community through our work with the American Cinematheque, an historic and iconic institution dedicated to the preservation and furtherance of film.

Bradley Whitford, Sean McKittrick, Betty Gabriel, Jordan Peele, Lil Rel Howery, Catherine Keener, and Jason Blum

Bradley Whitford, Sean McKittrick, Betty Gabriel, Jordan Peele, Lil Rel Howery, Catherine Keener, and Jason Blum

The American Cinematheque: An American Institution

The American Cinematheque is a non-profit organization championing cinema in all its forms and incarnations. Their programming runs the gamut, and their public screenings showcase a wide range, including foreign films, vintage gems and modern-day classics, independent standouts, documentary films, and short subjects. If you’re into film, you’re into the Cinematheque by default.

Each month the Cinematheque offers dozens of these screenings between their two theaters — the Aero Theater in Santa Monica, and the legendary Egyptian Theater in Hollywood. Roughly half of these screenings feature a QA session with people associated with the films, like directors, screenwriters, actors, production designers, and producers. The QA sessions take place after the credits have rolled and the lights come back up, and as part of their mission to celebrate film, the Cinematheque wants to document these QA sessions for posterity, and include them in their personal archives where they can then be distributed — either through their website, or YouTube. Who does the filming and editing, you might ask? That’s where JMaverick Studios comes in.

Our Big Adventure

Back in January of 2018, our commander-in-chief Jeremy Williams attended an authentic 35mm film screening of the one-of-a-kind Pee Wee’s Big Adventure at the Egyptian Theater after seeing an advertisement for it in the papers. While waiting for the film to start, Jeremy, ever the networking maven, emailed the theater manager about doing some video work for the Cinematheque. (Don’t worry, he wasn’t emailing during the film. Guy’s got respect for the screen!) A few days later, the Cinematheque reached out and asked him to film Mary Badham (who played “Scout” Finch) and Cecilia Peck (Gregory Peck’s daughter) at the screening of To Kill a Mockingbird. This was an opportunity not to be missed. So Jeremy showed up with not one, but two cameras to capture the interviews as well as the red carpet event before and after the screening.

Video production company head Jeremy Williams with Tommy Wiseau

Jeremy Williams with Tommy Wiseau

Video interview of Gary Oldman

Gary Oldman

Once the Cinematheque saw the quality of the content Jeremy provided them, they asked him to film a slew of other screenings. We’ve been shooting these QA sessions for almost a year now, though they significantly ramped up during the most recent Oscars season. Subsequent QA sessions include Chevy Chase, Burt Reynolds, Jeff Goldblum, Courtney B. Vance, Greta Gerwig, Jordan Peele, Gary Oldman, Elijah Wood, Seth Rogen, John C. Riley, MikeD and Ad Rock from the Beastie Boys, Tommy Wiseau, and most recently Courtney Love.

Martin Starr, Elijah Wood, Seth Rogen, John C. Riley, Ad Rock, and Mike D

Martin Starr, Elijah Wood, Seth Rogen, John C. Riley, Ad Rock, and Mike D

We’d like to say that our work with the Cinematheque is entirely selfless, and that the only satisfaction we derive is from knowing that in some small way, we’re helping to sustain the great work the institution is doing. But we can’t. Because attending these screenings, seeing these movies in lush 35mm, and getting to observe the cream of the cinema crop is so damn exciting we can’t help but feel special.

Greta Gerwig

Greta Gerwig

The Unluckiest, but Lucky, Video Production Project

Well, it’s Friday the 13th, and it should come as no surprise that the industry that solidified the date in cinematic myth is no less affected by its powers as any other. That said, a studio like JMaverick Studios, that can think quick and act quicker, can turn any unlucky production into a success.

Inauspicious Beginnings

Last year, we were hired by an agency — let’s call them Crystal Lake — who was commissioned by their client — let’s call them Jason Vorhees — to cover a major business conference in San Diego for three straight days. We assembled a sizable team of people for the project to facilitate both live action shooting as well as on-site editing services, including three shooters, two editors, a producer, and a production assistant. Because travel is never an issue with our team, traveling to San Diego was no major sweat: we packed up all our gear, our personnel, and drove to San Diego and checked in to a hotel near the shoot.

Jason Vorhees at Crystal Lake

Jason Vorhees at Crystal Lake

Before you know it, we were up and running.

How Things Were Supposed to Go

The plan was to shoot continuously over the three days. Travis Prow was leading the live action production, which included sit-down interviews, and pre-lighting these shoots the night before our first day on set. Jeremy Williams was to lead the post-production team responsible for turning out same day video edits. The expectation was to deliver roughly 50 completed video files each day. Footage would be coming both from Travis and his team, capturing high-touched, highly polished b-roll and one-on-one interviews, as well as from another video time (unrelated to JMaverick Studios) who was filming breakout sessions at the morning keynote series.

Travis Prow leading our video crew during a sit down interview

Travis Prow leading our video crew during a sit down interview

Once a session was filmed, our PA would pick up the digital files from the two teams and bring them to our editors, who would mix in a JMaverick Studios designed intro slate and a branded lower third for each person appearing on camera. From there, JMaverick Studios would upload the final video file to YouTube for Jason Vorhees to distribute. Now, our editors had direct communication with Travis and his team, but were effectively cut off from the latter, with whom they only interacted when making the drop off. (Spoiler alert: this is where some of the trouble starts.) On top of that, direct communication with the Jason Vorhees was made available to us on site, but we were really only expected to interact with Camp Crystal Lake.

The Horror… The Horror…

It wasn’t long on Day 1 before Friday the 13th struck. Our editors discovered very early that the files we were being supplied from the unrelated team were corrupt with problems: on camera menus were recorded to the video files; files had a hiss over the entire clip soundtrack; battery packs would die mid-shoot leaving giant holes in the footage, etc. Out of the 50 files we were supposed to deliver on Day 1, we only had 10 usable files that we could edit to any degree of satisfaction and upload.

Our team hard at work producing 50 videos a day

Our team hard at work producing 50 videos a day

In the business, this is what you would call a f***ing nightmare. On Elm Street, or wherever.

How We Turned Our Own Luck Around

But every summer camp bathed in the blood of counselors fallen at the hand of a vengeful murderer has its doughty Alice Hardy… and JMaverick Studios ( was that Alice Hardy. Shortly after realizing what we were being delivered, our team snapped into action, and went way beyond the project scope and call of duty to fix everything and restore the image of our client, Camp Crystal Lake, in the eyes of Jason Vorhees — this metaphor has gotten a little out of hand, but so was this shoot, so bear with us.

Our editors ended up pulling an all nighter (literally, we went to bed at 6am and were back on set at 9am) and were able to remedy a lot of the technical issues that had before made the video unusable. Ultimately we were able to deliver 40 of the 50 promised videos, having lost only 10 that were beyond repair. Not only did we prove to Camp Crystal Lake and Jason Vorhees that JMaverick Studios doesn’t quit, but we also saved the hide of our partner production team, correctly identifying their issues and helping to fix them. It was one hell of a shoot, but we made it out alive.

Strategizing our plan of attack before we pull an all night edit session

Strategizing our plan of attack before we pull an all night edit session

Still (kinda) smiling after watching the sunrise during an all night edit session

Still (kinda) smiling after watching the sunrise during an all night edit session

The Video Production Process for Motion Graphics Videos

What Is JMaverick Studios Up to Now?

You might have guessed that at JMaverick Studios, we shoot a lot of video. And you wouldn’t be wrong in thinking that — we absolutely do. But that’s not all we do. In keeping with our promise to be a high-quality, tech-forward, full-service production company, we also offer motion graphic services, most recently for Andrew Soss at Benchmark Mortgage located in Newport Beach.

Andrew is the #1 rated lender on Yelp in the Newport Beach area, and handles some massive deals each month — which makes him a big deal himself. As you can imagine, he gets asked a lot of the same questions about the lending process, like what are the steps for getting approval and certification? How did you get to be #1? Etc. But time Andrew takes out of his busy day to answer the same introductory questions over the phone is time he could be using to earn business. If only he had a video he could direct his callers to that could do that for him, it could save him a lot of money. That’s where a motion graphics video came in.

Preliminary storyboard art outlining the potential direction for the video

Video production with motion graphics for Benchmark Mortgage

Motion Graphics? What’s That?

For those of you who don’t know, an exclusively motion graphics video requires no filming at all. We’re able to draft, create, and edit an animated video from the ground up in Adobe After Effects and Adobe Premiere. Motion graphics can include text, images, and voiceover — really all you need to get your point across. That means a couple things: although there are tradeoffs with creating motion graphics videos versus live action, the benefits are numerous. Firstly, you don’t need to go through the long pre-production phase, hiring actors, securing locations, etc. Secondarily, a motion graphics project can be updated, changed, and reimagined constantly to adapt to new brand guidelines or message reorientations; and believe us, it’s way easier to change or fix something in After Effects than it is having to do pickups or reshoots of a live action video — and way more inexpensive. And thirdly: motion graphic videos with animated iconography and kinetic typography are just really in right now. They likely will only grow in popularity as the technology improves and they become more entertaining and creatively ambitious.

Video production with motion graphics for Chlorphen 12

Video production with motion graphics for Chlorphen 12

“The Homebuyer Advantage” and the Motion Graphics Advantage

With that in mind, Andrew, ever a visionary, reached out and commissioned from us a series of motion graphics videos specifically targeting first time home buyers on almost everything they need to know to start the loan approval process, things like: what are the conditions of a lending agreement, what are the financial prerequisites, and how long the process takes. Our most recent installment in the series is called “The Homebuyer Advantage,” and served as an introduction to how Andrew’s branch excels at ensuring loans get approved by sellers.

The turnaround time on motion graphic projects varies from project to project, depending on things like complexity and length. Once Andrew gave us the go-ahead, “The Homebuyer Advantage” took about two weeks from start to finish. That included brainstorming and greenlighting the initial concept, to recording voiceovers, to storyboarding, wireframing, and exporting the final MP4 — the ultimate combination of all the individual elements and hard work. We worked within Andrew’s budget and timeline to make a motion graphics video that will not only save him money down the road, but immediately elevates his brand to the next level.

Approved and colorized storyboards that were used to guide motion design

JMaverick Studios:

JMaverick Studios Commissioned by HSAC and Westfield Group for Video Production

HSAC and Westfield Group commission JMaverick Studios for Video Production Series

We work with a lot of great clients on a lot of amazing video production projects. And when we can, we like to profile our experience with them — which is what we’re doing right now.

What was the HSAC Gala?

We had the singular opportunity to work with the Los Angeles Homeland Security AdvisoryCouncil (HSAC) and document their gala event back in April and all the incredible work they’re
doing serving the LA community and keeping it safe. For those that don’t know: the LA HSAC
has been instrumental in forming and informing the national conversation on public safety and
emergency management, bringing together the brightest minds in the industry and community to
help craft the society of the future , both domestically and around the globe. We were
approached by the Westfield Group to produce a series of videos spanning every aspect of the
gala, from HSAC’s mission, recent achievements, and, especially now, its prestigious personnel.

Who We Got to Work With

This event was significant, among other reasons, because Los Angeles Mayor Eric Garcetti was
honoring two important figures: Chief Charlie Beck and Norm Nixon, former LA Lakers player
and two-time NBA Champion. Retiring this year, Chief Beck was getting a proper send-off by
the mayor and his colleagues on the committee: Mayor Garcetti presented him with a plaque
commemorating his years of service. Before the hand-off, a video we produced capturing, in
brief, Beck’s work played as an homage to the local celebrity.

LA video shoot for HSAC interview

LA video shoot for HSAC interview

Similarly, Norm Nixon was being celebrated for his extraordinary work raising awareness of the
homelessness epidemic in the city of LA. Peter Lowy, a friend of Nixon’s, commissioned from us
a video commemorating Nixon’s many contributions, which played before his speech.

Outdoor video prduction in Los Angeles for HSAC

Video shoot outdoors for Los Angeles HSAC

In addition to Nixon, we also got the chance to interview James Featherstone, President and
CEO of The Los Angeles Homeland Security Advisory Council, Steve Soboroff President of the
Los Angeles Board of Police Commissioners, Debbie Allen actress and television director, Peter
Lowy Co-CEO Westfield, Marc Nathanson Chariman HSAC Chairman, and Wendy Greuel
Former Los Angeles City Controller.

Shoots took place over three days at Westfield’s headquarters in Century City and in Santa
Monica. We coordinated with the Los Angeles Police Department, Fire Department and the
Sheriff’s own video production teams (oh yeah, they have those) to gather b-roll and
behind-the-scenes footage which we then were able to use in post-production.

Video production clapper for HSAC shoot

Video production clapper for HSAC shoot

The JMaverick Studios Approach

Now to the nitty gritty. This was yet another project that required our team to work extremely
hard, and extremely efficiently to meet production deadlines. That just so happens to be our
specialty. All in all, we had just three weeks to pre-produce, shoot, and edit three separate
videos for the event. For any other team, that would have been a deal-breaker. But we stepped
up to the plate, and delivered HSAC and Westfield a grand-slam (three videos, knocked out of
the park). They were beyond satisfied with the final product, and looking forward to working with
us in the future.

View the Videos on YouTube:
HSAC Overview
Chief Beck Tribute
Honoring Norm Nixon