Everything the program is known for.

Not the kind you're bracing for. The first conversation is a working one — what you're trying to do, whether this is the right way to do it, and what it would take. Part of the job is saying when it isn't a fit, and some of those calls end with a recommendation and no project. Emailing here doesn't put you on a list, and nobody follows up three times to check in.

There are numbers on this page now, which should save you an email. The short version: a set of graphics starts at $450, a highlight feature is $400, a full event package is $1,200, and an identity system starts at $1,800. Anything running across several services gets scoped and quoted, because no two programs need the same thing. Put your scope, your timeline, and a rough budget in the first email and you'll get an honest number back before anything is booked — including a straight "that's not enough for what you're describing" if that's the answer. If you're fundraising toward it, say that too. It changes how the scope gets built, not whether you get taken seriously.

It doesn't always apply. Need one thing made — a flyer, a set of graphics, a highlight reel, an event recap? Tell me what it is and you'll get a quote back. No call, no fee. The consultation is for program work: an identity system, a website, a team store, a season of content, a full brand and site build. That kind of project has too many decisions in it to scope over email, and charging for the hour is what turns it from a sales call into work. It's $150, and booking the project takes it off the invoice.

Sometimes, honestly, no. One operator means a finite calendar and no being in two gyms on the same Friday night. If your timeline needs a crew, you'll hear that up front rather than after you've signed. What it buys you the rest of the time is that the person who scoped the work is the person who shoots it, edits it, and answers the email — no account manager, no junior handed the file, nothing lost in a handoff because there isn't one.

Some of it would be. A full identity system plus a season of content is the wrong first move for a program with twelve kids and a booster budget — and yes, the numbers at the top of this page are real numbers. That's why most people start with one thing: a set of game-day graphics, a highlight feature, a team store, one event covered. $450 is a fundraiser, not a board meeting. Add later only if the first one earned it. High school and club programs are still who this was built for; the bigger builds exist for the programs and businesses that have grown into them, not as the price of admission.

It happens, and it's almost always a direction problem, not a taste problem. Direction gets agreed before production starts and there are checkpoints along the way, so the first time you see the work is not the first time you get an opinion about it. Revision rounds are written into the scope up front, so the number isn't a negotiation later. And if the direction is wrong at the first checkpoint, say so then — being polite about it for three weeks costs you more than the honesty does.

Send a short note about what you need. One piece of work gets quoted straight back. Program work books a consultation first, then gets scoped and estimated before anything is built. The full stage-by-stage version is on the process page.

Yes. Take one service or combine several. Most relationships start with a single project and grow from there once the standard is clear.

Coaches, athletes, programs, schools, clubs, local businesses, and creators — from high school and club levels up. If you care about quality and you're building something, you're the client.

Remote by default. Shoots, game-day coverage, and on-site work are arranged by project depending on location and scope.

You do. Final files and assets are yours on final payment, with ownership and usage terms spelled out in the scope up front. Two honest exceptions, both named in every scope: the reusable templates and systems I build on stay mine and you get a licence to keep using them, and any licensed font, stock, or vendor asset transfers on whatever terms its own licence allows. No hostage files — but no promises I'd have to break someone else's licence to keep.