Steven Fard is ten. He speaks like a founder. When he opens a video with your name in it, people stop, watch it to the end, and remember who you are. That is the whole product.
Steven's intro reel sits here
Most business video does everything right and still gets ignored. The owner talks to camera. The edit is clean. The offer is clear. And the thumb keeps moving, because there is nothing in the first second the feed has not already shown ten thousand times.
You do not lose on production quality. You lose in the first second, before anyone has heard a word of what you paid to say.
This is not a gimmick you bolt onto an existing video. It is a different mechanism, and it works on all three of the moments a piece of content has to survive.
The face and the voice do not match. A ten year old opens with a sentence an adult would say, and the mismatch reads as an error the brain has to go back and check. That check is the stop. No hook line reproduces it, because the surprise is in the person, not the script.
Once someone is watching, the question in their head is no longer what your business does. It is what he is going to say next. That question carries the rest of the runtime, which is exactly the stretch where an ordinary business video loses the room.
A kid can say things about your business that you cannot say about yourself. Praise from a child does not read as a boast, it reads as an observation. The recommendation lands before the viewer has decided to defend against it.
Steven's portrait sits here
He is ten. He reads a script the way an adult does, holds a frame without fidgeting, and says a business name like he means it. That combination is rarer than it sounds, and it is the reason this works when a generic child actor would not.
He performs your script, not a bit. Every line is written for your offer and approved by you before a camera is switched on.
A parent is present for every shoot, and the work runs inside the hours and consents his age requires.
One person, many businesses. A recurring face across your channel builds recognition faster than a rotating cast ever does.
One person, one format, three different rooms. Steven's cuts drop into these frames as they publish, and they play the way the feed plays them: vertical, and with the sound off.
Clinic intro
Restaurant intro
Barbershop intro
Finished, captioned and ready to post. Not a folder of clips for you to figure out.
The open, the line about your business and the ask, written for what you actually sell. You approve it before anything is shot.
Framed for reels, shorts and stories, with the subject held where the interface does not cover him.
The same take recut for your homepage, your listings and anywhere a wide frame reads better.
Most of the feed watches on mute. The video has to work with the sound off, so it ships that way.
No logo sting, no slow build. The first frame is the person talking, because that is the frame the feed judges.
Post them organically, cut them again, or put budget behind them as paid ads. Usage terms are agreed in writing before the shoot.
One short call. What you sell, who buys it, and what you want someone to do the moment the video ends.
We write the open, the line about your business and the ask. Nothing is shot until you have signed off on the words.
Steven performs it with a parent on set. If a take does not land, it does not ship.
Both cuts, captions and raw files arrive ready to post and ready to run behind ad budget.
The mismatch does the work, so the industry does not have to be interesting. It usually helps when it is not.
A child on camera is not the same as an adult on camera, on the paperwork or on the platforms. This is handled before a script is written, not after a video is live.
Steven is ten, so nothing is made without his parent agreeing to it in writing. That consent is executed alongside your contract rather than chased afterwards, and it names the business, the script and the shoot it covers.
The release states where you may publish: your own channels, your website, and paid placements. You are not left guessing months later whether an ad buy was covered by it.
Content that features a child sits under a different set of platform rules than content that does not. The script, the framing and the disclosures are built for that from the start, so a video is not pulled after you have put budget behind it.
Consent and release arrive in the same delivery as your cuts. If a platform, a partner or your own counsel ever asks, you have it in hand instead of looking for it.
Most agencies want a deposit before you find out whether the idea is any good. This runs the other way. Tell us what you sell, and we write the first line of your video and send it to you. Read it out loud. If it does not make you want to shoot it, that is the end of it, and it cost you nothing.
Pricing is set per business on the brief call, once we know the offer and how many videos you want.
Two short steps. You get a written concept back for your business, with the first line already drafted, before you commit to anything.
Takes under a minute
No obligation, and no call unless you want one
You can keep paying for videos that are correct and ignored, or you can put something in that first second that the feed has never seen before.