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Case Study / Experience Scottsdale
Scottsdale's hardest month to fill is the one where it passes 110 degrees. They brought us in to make people want to come anyway, and when the campaign was over they came back and bought the photos too. Two years later they booked us for a second run, and bought the photos again.
The photos
Photography wasn't in the 2024 contract. We shoot stills anyway on every trip, and we sent a set over when the campaign wrapped because we thought they'd like them.
Scottsdale came back and licensed them for their own channels, on a separate invoice, after the work they'd paid for was already delivered.
Then they did it again in 2026. Same conversation, second campaign, second licence.
2×
Licences bought
outside the contract
A client spending money they didn't have to spend, twice, two years apart, is a harder thing to argue with than any number we could put on this page. They kept the photos. We kept the rights.
What we made
2024 was the wide one. We went in August and made a thirty-four minute film about what a desert city is like in the month everybody avoids, with a Reel cut for people who'd never have considered it.
2026 went narrower. One film on the split between the Scottsdale most visitors see and the one they don't, and one on where to eat. Shot in March, out in May and June.
Eighty-two minutes of film about one city across the two campaigns, and every hosting business in the 2026 brief covered across the pair. None of it is an advert. They're the same films we'd make if nobody were paying, which is the only reason anybody watches them.
Chris and Sara are not just engaging visual storytellers, they're also skilled marketers. They're creative and naturally curious, they understand how to hone in on a destination's goals and key messages, and they want to drive results. The cherry on top is that they're fun to work with, too.
