Epic Nonprofits

Last year we had the greatest year yet. We worked on over 35 projects and brought over $8.1 million dollars in revenue for our clients. Now, this year we want to up the game a notch, and therefore we made a significant investment in our filming gear.  If it wouldn’t be significant I wouldn’t bother you because what do you care what tools we use, right?
But this is on an Epic level.

Good for Hollywood, even better for your brand

We want the best for our clients. And therefore we upgraded to the camera package that is good enough for Hollywood films. The films you see on this page were all shot with the Red Epic camera system. We’ve invested into the same camera system that big blockbuster Hollywood films have been using to make their movies world class. Now we will make your brand not just stunning, but epic.


The proof is in the pudding

Well, you might say: In Hollywood they use more then just a good camera. And that is right. So, in order to show you what we can do with such a camera package, here we want to show you the kind of work we do with the Red. We in fact just finished our first project with the Red Epic Camera. We produced a promo film for the Manhattan-based Chabad of the Bowery.

Why beautify the world

​You might ask: Is it really worth the investment to shoot with such a high caliber camera gear? The answer from my side is simple: Whatever your presentation will look like, your audience will assume that what they are seeing in your film IS you. Meaning to say, if your advertising films look like crap and cholent, then that’s what your audience will think about you. If you post professional and slick-looking media and material, then that is what your clients will think of you as well.

Bottom line is: Yes, it was worth our investment (this type of camera package comes at a hefty $50k price tag) because our client has been truly thrilled with the results.

Don’t be cheap with your supporters 

You know, I encountered one phenomenon. Since I work with mostly nonprofit brands I come across clients that need to produce films that are engaging donors and supporters. But the truth is that often nonprofit brands really want to save cash in order to do so. Really? Your donor gives you a check of $500k and you are too cheap to spend $15k for a film that honors their commitment?  I find this attitude among nonprofit brands puzzling.

Thank God this is not so with Chabad of the Bowery. They know that when you invest it comes back 10-fold. And thank God all my clients understand that as well. Because if they didn’t,  they wouldn’t afford us and we wouldn’t want to work with brands and people with this kind of cheap attitude.

So, do your donors and your brand a favor by beautifying their and your commitment to the world and the cause you are fighting for.

8 Responses to "Epic Nonprofits"

  1. What a great film. You fall in love with those kids and the staff and you just want to be a part of it all. Fantastic job!!

  2. If you want to learn who I am, where I come from and what matters to me, please listen to this 13 minutes speech.

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  3. Harold Klein says:

    Really fine work. Not sure how non-profits will have budgets to do comparable work. My instinct is to spend the budget more on content power, maintain integrity of AV but deepen the messaging….especially if you have the budget to do so.

    • Shmuel Hoffman says:

      Harold. Nonprofits have big budgets once you get passed the excuses and about how they are just a nonprofit and helping poor children. I always look into their tax returns and on average the top people make between $150-400k, that includes VPs, CEOs, principals, heads of school, camp directors etc.

  4. TiKo says:

    As a nonprofit, you’ll get a team of motivated, skilled professionals who treat you like a first-tier, big-time client. The creative team is focused. They approach your business issue strategically, and really bore down to your most critical needs.

  5. Daniel Remer says:

    Great film, but I challenge any client to tell the difference between footage shot on a RED and that shot on a Sony FS7 or FS5. The real key is in the skill of the cameraman and the colorist. I guarantee you yourself couldn’t tell the difference on a monitor. Only if projected on very large cinema-style screen does it make a difference. I am sure that shooting with a RED actually slows you down on location and for sure slows down your workflow. This is a perfect example where expensive tools can work against your best interests and add nothing at all to the clients product. If you had shot that film on your little Sony A7s the client would love it just as much as the film is good. RED is not a run and gun camera. In fact Hollywood rarely use them anymore it’s the ARRI range of camera gear that is seen on most Hollywood productions today. Good Luck.

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