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Discount-led. It recruits the homeowner who is shopping on price, and he was never buying a $60,000 backyard.
We film your crews, your jobsites, and your finished builds, then cut them into ads a homeowner recognizes as real. No stock photography of a patio in a state you do not work in.
He has seen a thousand contractor ads. Most of them were made by someone who has never stood on a jobsite.
Scroll through your own feed at nine at night and count the contractor ads. The same stock photo of a paver patio that could be anywhere. The same discount. The same sentence about quality craftsmanship and attention to detail. He scrolls past every one of them, including yours, and it costs you nothing you can see, which is what makes it expensive.
The thing that would actually stop him is already on your phone. The walkthrough you shot when a job wrapped. The wall going up. You standing in front of a build explaining what you would do differently next time. That footage outperforms almost anything a designer can invent, and most contractors never send it to anybody.
Real work is the one asset you have that your competitors cannot copy and a stock library cannot fake.
Four defaults that make an ad invisible.
A patio that is not your patio, in a climate that is not your climate, built by a crew that does not exist. It reads as an ad for nobody in particular, which is what it is.
A glossy brand film looks like an ad and gets treated like one. Rougher footage of real work converts better in this trade, and we stopped pretending otherwise a long time ago.
Ads fatigue. Running the same image for four months is how a campaign that worked turns into a campaign that only looks expensive.
Discount-led offers pull bargain hunters. Vague craftsmanship language pulls nobody. The words have to come from what your actual buyers say, not from a swipe file.
You are not hiring a production company. You are getting a director, a shot list, and an edit.
Before anything gets written we research your market and your customers: what they say about the problem in their own words, who they are comparing you against, what they are afraid of getting wrong.
That research becomes a document, and every script, headline, and hook is written out of it. It is also why the ads for a Sacramento design-build firm do not sound like the ads for a North Shore Chicago crew.
We run a production call and tell you exactly what to shoot: three or four setups, which angles, what to say, how long to hold each shot. Then you film it between jobs on the phone in your pocket.
No crew, no shoot day, no week lost to a video project that never ships.
One call, then you film between jobsDead air trimmed, captions on every word, your real footage running underneath, branded panels only where the script earns one, and a music bed mixed under your voice rather than over it.
The treatment is tuned to your brand rather than poured into a house style. Two clients do not get the same video wearing different colors.
The image ads, the funnel, and the page all use your brand and your projects, so the homeowner who taps the ad lands somewhere that looks like the ad he tapped. That continuity is worth more than any single clever headline.
New angles go up, tired ones come down, and the winners get more budget. Every week we look at the actual creatives next to the numbers, because a spreadsheet will tell you an ad is fading but only the ad itself tells you why.
What we kill and what we scale shows up in the Friday report along with the cost per booked job.
We use 2D plans and 3D walkthroughs when the ad is talking about your design process, and real photos or video when it is talking about work that got built. A render never runs on screen while the voiceover describes a finished job. It is a small rule that keeps the ads honest, and honest is the only kind that survives a homeowner who visits the site.
Creative is one input into the system, so we will not claim these totals for it alone. It is the part that decides whether the right homeowner stops scrolling.
Those are sums across every client account, pulled on 2026-08-20 from the same client records the tracking reads: ad spend on one side, booked estimates and signed projects on the other. The two averages move month to month. We update them when they move, and we do not round them up.
No. Plenty of accounts run entirely on jobsite footage, finished project photography, and design renders.
We will ask, because people buy from a face and founder ads tend to earn their keep. If the answer is still no, we build around it rather than nagging you for a year.
Then we start with your project photos and give you a short shot list for the next job that wraps.
Most contractors are three or four short clips away from a full ad. The footage problem is almost always a direction problem.
Yes, over claims about design. We do not run a render while the script is talking about a finished build, and we never present a rendering as a project you completed.
Design work is a strong selling asset in this trade. It just has to be labelled by context, not passed off.
There are tests running every week and a refresh whenever a creative starts to fatigue. You see what changed in the Friday report, along with what we killed and why.
We write it, out of the research document, and it goes through a review pass before it runs.
Anything with your name or your face on it, you approve. Anything about pricing or scope, you correct us on, because you know your market better than a research file does.
On the call we will look at what footage and project photography you already have, what your first ad should be, and what we would ask you to film in the next two weeks.
Month to month. No annual contracts.