If you’re reading this, you’ve probably already talked to us. Maybe there’s a proposal sitting in your inbox. Maybe you got off a call and liked most of it. Or maybe somebody sent you this link because you asked a question about making video, or creative, or content, and didn’t get a straight answer anywhere else.
The question usually arrives in one of a few shapes. A business owner who knows they should be posting and isn’t. Someone who paid an editor for every single video and quietly stopped. Someone who wants a podcast but not a production company. Someone whose ad creative ran out two months ago and hasn’t been replaced.
In every one of those cases the output is different and the problem is identical. You know there should be more of it, and there isn’t, and the reason is always the same: it took too many people and too many hours to make one thing.
What everyone asks
Here’s the list. How many videos a month? Who writes them? How long does one take? Do I have to be on camera? Can I approve everything before it goes out? What about my voice — will it still sound like my business? How fast does something come back? What if I hate it?
That’s the honest version of the question, and it’s the one worth answering.
What we won’t tell you
Anybody who promises you a viral hit is selling you a lottery ticket. Going viral isn’t the job, and it isn’t the plan. Most businesses have the opposite problem from going viral — they have almost nothing published at all, so nobody has ever had the chance to recognise them.
A creator’s job is to show up often enough, and specifically enough, that the right people start to know who you are. That’s a rhythm, not a lightning strike.
Why this stopped being five salaries
A film needed a writer, an editor, a composer, a colourist and a producer. A book needed a writer, an editor, a designer and a proofreader. That’s why almost nobody made them. The constraint was never talent. It was hours.
Those hours are cheap now. Which means one person can produce the video, the images, the audio, the music and the writing that used to be five different hires and five different briefs.
What one creator now carries for a single business: short-form video, ad creative, product and lifestyle photography, a podcast or audio series, music and sound, the written word, and the covers and thumbnails that tie it together.
A writer, an editor, a photographer, an audio producer and a designer — five briefs, five invoices, one production schedule.
One creator carrying all of it, on a rhythm you can actually keep, with the volume that makes a brand feel alive.
The math on the cheaper route
Somebody will offer unlimited content for a few hundred dollars a month. It happens on every call. So let’s do the arithmetic, because it’s the same arithmetic every time.
If a freelancer charges a few hundred dollars a month for everything, how many clients do they need running at once just to pay their own bills? Dozens. Which means your work is one of dozens, your approvals are queued behind everyone else’s, and your content starts to look like everyone else’s — because the same person is making all of it at speed.
With us, the creator assigned to you caps out at four clients. Ever. Not forty — four. And they aren’t working alone. Stuck on a script, they ask our head of marketing. Stuck on how something should look, they ask the people who built the product.
Why we lose money on the staffing
Here’s the part we don’t hide. A specialist deployed into your business for $997 a month does not cover what that specialist costs us. On the staffing, we lose money. On purpose.
Our goal is ten thousand businesses running on SuperCool, the software we own, and we’re willing to put staff into businesses at a loss to get them there. The software is where the relationship actually lives. You’ve seen this model before. Google Docs is free. Why would Google Docs be free? Because Google wants you using Google for everything.
Which means you aren’t getting a discount. You’re on the right side of a business model that only works if you stay.
Do you think we’ll give your money back?
Back to the real question, the one under the list. The sentence people are too polite to say out loud is usually this one. I’ll pay them, they’ll work on my thing for two weeks, I won’t be happy, I’ll ask for my money back, and they’ll find a reason not to give it to me.
If that is genuinely what you believe we are, then don’t hire us. Not because you’re being difficult — because you should never do business with someone you believe will take your money.
Notice what that means. The whole decision comes down to one judgment, and it isn’t about talent or speed or price. Do you think we’re honest?
A retainer is owed whether it works or not. A production budget is spent whether you like the result or not. Neither contract hands your money back.
Fourteen days, full refund, in writing, no justification needed. The worst case is that you get your money back.
How to actually make this decision
You have four realistic options when you need content coming out of your business every week. Here they are with the real numbers attached.
| Option | What it costs | What you get |
|---|---|---|
| A full-time content hire | $6,000–$12,000 a month, plus equipment and software | One skill set, and four to eight weeks before they start. |
| A production or video agency | $5,000–$20,000 a month, often on a retainer | Polished work, slowly, and a bill that arrives whether it works or not. |
| A cheap freelancer | A few hundred dollars a month | Your work is one of dozens, and the output starts to look like everyone else’s. |
| Us | From $997 a month | A month of content planned and published in about two weeks, month to month, with a 14-day money-back guarantee. |
Find the row where you lose money if it doesn’t work. There’s only one row without one.
- Look at what is actually published
Most businesses have the opposite problem from going viral: there is almost nothing out there for anyone to find, so nobody has had the chance to recognise you.
- Find the row where you lose money if it doesn’t work
A salary, a production retainer, a per-video editor, a cheap monthly subscription — only one of those hands your money back if you’re not happy.
- Decide whether you believe us
Fourteen days, full refund, in writing, no justification needed. If that’s what you doubt, then that is the whole decision.
What happens if you say yes
Within about two weeks, a month of content is planned and going out. New ad creative replaces the tired set. The images are made. There’s a video with your name on it, and likely audio too. And most importantly there’s a rhythm — something you can keep doing after week two instead of a burst that dies in a month.
What happens if you keep deciding
Another month of an empty grid. Another month of seeing somebody else’s business look more alive than yours, and knowing the only difference is that they published something. Another month of running the same creative until it stops working and then running it anyway.
You’ve been meaning to fix this for a while. The only thing that hasn’t happened yet is a decision.
The one question left
You will not find anything lower-risk than fourteen days and a full refund. And you will not find anyone cheaper who will still be there in three months, making the next thing instead of disappearing. The rest comes down to whether you think we’ll keep a promise we put in writing. If you don’t, don’t hire us. If you do, stop deciding and start publishing.
How many hours will I get with the specialist?
We work in tasks, not hours. Base plan gives you two working sessions a week on days you both choose, plus systems that keep publishing on the days you’re not talking. Five days a week on the higher plan, full time if you want them on nothing but you. A person using AI does several things at once — a minute of finished video comes back in about an hour.
Will we be on Zoom?
If you want to be, yes — at least once a week, on whichever call tool you prefer. You can also message any time and get an answer when your specialist is on. Most weeks the work moves further without a meeting.
Can I get feedback from them directly?
Yes — you work with them directly. A senior person reviews the work as well, so you get a second set of eyes at no extra cost, and the owners get involved when something needs it.
How much does video cost me in credits?
Images are pennies, video is dollars. Professionals spend less on credits than you would, because they know what they’re doing — so it usually works out as a saving.
How many pieces of content a month?
It depends on what you need, and that’s a conversation rather than a number. The better question is whether the work is good and whether it’s moving the business, not the count.
Can I approve everything first?
Yes. You can review anything before it goes out, and you can hand your specialist a standing approval for the routine things so nothing waits on you. Most people do a bit of both.
What’s the actual guarantee?
Fourteen days, full refund, in writing, no justification needed. Try the person for two weeks, and if you’re not happy, we stop and you get your money back. It costs us money whenever someone uses it, which is why we’d rather you didn’t have to. We’re the company behind SuperCool — 300,000 paying members — covered by Yahoo Finance, USA Today, TechCrunch, and Business Insider, and we lose money on the $997 on purpose to bring businesses onto SuperCool, the platform we own.
Do you have case studies in my industry?
Everyone has case studies, and most of them are out of date — something that worked a year ago may do nothing today. What you’re really asking for is a promise of a result, and nobody honest can make one. We spend $50,000 to $100,000 a day on Meta and have driven over a billion dollars in digital marketing sales. Your market and your data are the real proof.
Can I talk to the person before I start?
No, and the honest reason is that you already have a 14-day money-back window. We don’t hire people who aren’t good, and this isn’t a $120,000 salary decision — it’s a fractional commitment with a guarantee attached. You’ll meet the senior person at onboarding as well as the person doing the day-to-day work.
