Shot here. Cut here. Graded here. Out the door.
One north Austin address with the stage, the production office and the support kit on it. The picture starts flat and leaves finished — and you never hand it to a stranger in the middle.
One north Austin address with the stage, the production office and the support kit on it. The picture starts flat and leaves finished — and you never hand it to a stranger in the middle.
Before we drew a single box, we measured vivianatx.com
Nike. Budweiser. McDonald’s. Oakley. Warby Parker. Zipcar. MLB. USGA. TaylorMade. Dunkin’. All of it is already published on vivianatx.com.
They sit on 7 director pages that link only to each other. Nothing outside that loop points in. Counting them, 10 of the 18 pages on your site cannot be reached by clicking — you have to already know the URL.
The page asks a visitor to book three times. The widget under the third ask is an unconfigured Squarespace block — “Connect to Acuity Scheduling” — and it is set to display:none. A visitor sees an empty space where the form should be.
Every number above was counted, not estimated. The full audit is at the bottom of this page.
One of your frames, twice, locked together. Left of the seam it is flat — the way a picture looks before anybody touches it. Right of the seam it is the frame as it went out the door. The waveform sits directly on top of the picture and shares its x-axis: column for column, it is reading whichever side of the seam it is standing on.
Both rows are measured off the pixels on the monitor. The grade is what takes the trace from a crushed band to a full 0–100 and swings the vectorscope out along the skin line.
Two things we will not pretend about. The flat pass is computed live in your browser from your own delivered frame — it is a demonstration of what a grade does, not your camera original, which we do not have. And on a live site this module runs the clip, not a still; the films are already embedded on your pages, and a still is what a concept page can carry with zero outside loads. The one question we need answered before this ships: does the finishing happen in this building today? If it does, this is your suite. If you send it out, this is the argument for bringing it home — and either way it shows a producer what their footage becomes, which is the thing your homepage has never once done.
Vivian’s service list runs together in a single slash-separated line on the current site. Here it is, unchanged — just laid out the way a producer actually reads it: what happens on the floor, what happens after, and everything you would otherwise be renting from four other phone numbers.
Columns 01 and 03 are Vivian’s own words, verbatim from vivianatx.com. Column 02 is the positioning this concept argues for, not a claim we found on your site — the site publishes “motion graphics” and “video production” and says nothing about a post room. Whether the edit and the grade already happen at F64 is question one for Tim. If they do not, this column becomes the page that names who does them and how the handoff is run — which is still more than the site says today.
Specification quoted verbatim from vivianatx.com. Swipe the strip — there are more.
Nobody hires a studio from a description. They watch something and think I want that. Sixteen frames from work already published on vivianatx.com — and already unreachable. Click any one of them to put it on the monitor in section 01 and grade it yourself.
Every tile above is a live source for the bay — that is the whole interaction, and it works. What it is not is a video player: we will not guess which of the 37 films belongs to which frame. On the finished site each tile plays its own film in place, because the films are already embedded on your pages — they just sit behind a URL nobody can click to.
Every item above appears on vivianatx.com today. Rates are not published anywhere on the current site, so none are shown here — they go on the page the day Tim gives us the numbers.
In the film industry since 2003. Also an Executive Producer at ELEMENT Productions in Boston, a SAG-AFTRA actor and stunt player, and a co-founder of the Texas Film Foundation.
Production specialist and line producer. Has line produced hundreds of television commercials all over the United States and around the world. Also an Executive Producer at ELEMENT.
Both bios are drawn from vivianatx.com/about-1, in the studio’s own words.
Stage day, a product table, an office for a two-week job, a motorhome parked at a location — same phone number for all of it.
Both channels here are ones Vivian already publishes: the phone number and info@vivianatx.com are in the footer of every page on vivianatx.com, and in the site’s own structured data. Nothing was guessed. We deliberately did not put the Facebook page in this section — it is the only social link your site carries, and right now it does not open for a logged-out visitor (see the note below). What also does not exist yet is a booking form anyone can actually use.
This page is a concept, built cold from what is publicly on vivianatx.com. Here is the whole audit: