BerryBloom · For music & entertainment

You are sitting on
more content than
you can post.

Somewhere there is a drive full of footage nobody has cut. Interviews, sets, backstage, the archive going back years. For most of the businesses we work with the hard part is having something to say. Yours is the opposite.

The archive
Usually the most valuable thing you own
and the least used.
Site, clips, and commission work
Priced below. Commission is quoted.
Why this is a different job

Nobody is searching
for you with a problem.

  • There is no intent to capture. A plumbing customer has a burst pipe and types what they need. Nobody wakes up needing your festival. Attention has to be earned before there is any demand to meet, which is the exact opposite of everything on our other pages.
  • So volume beats polish. One beautifully made campaign film does less for you than sixty short clips, because the format rewards frequency and each one is another chance to be found. This is uncomfortable if you come from a production background, and it is consistently true.
  • And the platforms are not close to equal. Cutting the same footage for one of our accounts, short-form on Facebook reached on the order of a hundred times what the same clip did on YouTube. Not a universal rule — but posting everywhere identically and hoping is how most of this budget disappears.
  • The audience is the asset, not the campaign. Sponsors, ticket buyers, labels and partners are all buying access to people who already care. Everything else is downstream of how many of those there are and how reachable they are.
What we actually do

Mine the drive.
Then keep it fed.

  • Go through the archive properly and find the moments — the recognisable name, the story nobody has heard, the thing that plays without context. Most of what makes good short-form is already shot; it has just never been watched by somebody looking for it.
  • Cut for the format, not from habit. Vertical, short, the name or the hook in the first seconds because that is where people decide. Long-form on the platforms that reward it, cut differently, from the same source.
  • Publish on a cadence you do not have to think about, scheduled across the channels that actually return something for you rather than all of them equally.
  • Report on the platform’s own numbers. For video, the studio analytics are the truth and a general web dashboard will quietly mislead you about what performed.
  • Point it at something. Tickets, a mailing list, a sponsor deck, a membership. Attention that does not land anywhere is a nice month with nothing to show for it.
The whole price list

Add what you need.
Nothing you don’t.

BerryBloom · Music & entertainmentEstimate
The site $1,500 / $10,000 One page at $1,500 — the act, the dates, the links, somewhere to join the list. Or up to 20 pages at $10,000 for a roster, a venue, a festival with a lineup and a history worth keeping. Paid once, yours to keep.
Archive cut-downQuoted scoped first The one-time job of going through what you already have and turning it into a library of clips. Quoted rather than priced here because the honest answer depends entirely on how many hours there are and what state they are in — a tidy drive and a shoebox of tapes are not the same job.
Content & clips $500 /mo The ongoing cadence — clips cut and posted, comments answered, scheduled across the channels worth being on. For most of our clients social is the last thing we recommend. Here it is the product.
Growth Plan $1,000 /mo The site kept alive around the content — at least one new page or article a month, search and answer-engine visibility for the names and events you own, the list growing, hosting, and a monthly report built on the platform numbers rather than a dashboard that guesses. Cancel any time on thirty days’ notice.
CommissionQuoted a share of what we bring in For some accounts we work on a share of what the work actually produces — sponsorship, ticketing, partnerships — instead of a retainer. Not published as a rate because it varies enormously with what is being sold and how much of the selling is ours. Set in writing per account, with a floor and a ceiling, before either of us commits.

If you are a nonprofit or an independent artist, say so early. The commission structure exists partly for exactly that situation — where the budget is not there yet but the audience is real — and it is a better fit than asking you to find a retainer you do not have.

We already do this

Real archives.
Real audiences.

Music hall-of-fame organisationSite, social, clips and sponsor outreach
Podcast launch & clip engineEpisodes cut to short-form on a cadence
National touring campaignSponsor and media outreach
Charitable foundationGaming and events, brand and web
Bardstown, KYSmall shop, you get the owner
Book a call Not what you do? See the other use cases →