First, there is no catch. This is a genuine offer.

I’m confident in making the offer because 100% of the homes I’ve photographed and videoed in this manner in the past have sold – and, not only sold – many of those homes sold at prices above market value.

That’s right: I offer you a track record of 100% sell-through.

Second, I’m not new at this, as you can hopefully tell from the samples I’ve posted here at this website. Those photos and videos are all my own work (my wife, who is a voiceover artist and professional copywriter, is also involved in the process).

I’ve successfully used a variation of this business model before. It is, indeed, an unusual one, but it’s one that has been win-win for me and the other agents who’ve collaborated to use it.

I’ll tell you more about that momentarily. But first, a story:

If you think the traffic in Austin is bad, you should have seen the congestion on the streets of Los Angeles when I worked as part of the crew filming the movie Heat, starring Al Pacino, Robert De Niro and Val Kilmer.

In the past, I’ve held a variety of roles in the film industry – sometimes working with the camera crews, sometimes driving, sometimes editing, sometimes directing, and sometimes producing.

On that film, I worked as a camera car driver under the direction of Michael Mann.

Mann’s raw, gritty vision for Heat required the cast and film crew to work in a live environment on crowded city streets rather than setting up the scenes in a safe, cushy soundstage environment.

Heat’s script was based on a true story, and I was there for much, but not all, of the filming. I’m here to tell you that the drama was real.

For me, the highlight of filming that movie was the day I was entrusted to drive the camera car for driving scenes featuring various actors including Al Pacino, Robert De Niro and others.

I got to meet both of these legends and had the chance to spend a bit of time talking to both of them that day.

Mann’s AD (first assistant director) was his mouthpiece. My colleagues and I referred to him as “the screamer”. He delivered every directive to the cast and crew by yelling at the top of his lungs.

On that historic day, filming for the movie was behind schedule and over-budget. As I rigged up my gear in preparation for filming running shots, I wasn’t sure whether Mann was actually going to use the camera car I was driving.

I’d been waiting around for hours. Another camera car driver, a good friend of mine from another company, was already set up and busy doing running shots.

They also had a helicopter rigged up and ready for action. We were burning daylight, and time was running out.

So I figured it would be one more day of “hurry up and do nothing” for me. But I was wrong.

That day, I ended up filming multiple scenes. The most complex one I did that day had been scheduled for shooting before rush hour traffic began.

But due to delays, we didn’t actually start filming until several hours later, after rush hour traffic had begun.

The equipment I was driving took up two lanes and required a police escort. A camera car has “wings,” which we position downward so that a car can be mounted on it, along with an entire film crew, cameras, lights and rigging.

So then I would drive the entire entourage down the narrow, crowded streets. The actors would do their thing, and the camera crew would film them doing it.

In the end, the people watching the movie would see a scene where it looked like the actors were driving in the car – but they weren’t. I was actually the one doing the driving. It was movie magic.

So, yeah. Right about then, I was definitely feeling like the movie was well named. The Heat was on.

This story gets even crazier.

Normally in situations like this, I’d work with a couple of ex-cops who’d drive motorcycles alongside the camera car and assist with clearing traffic and locking down the streets so the entire crew and all the gear could get through safely.

But this time, there were no veteran motorcycle cops on the job. The California Highway Patrol (CHP) wouldn’t agree to locking the freeway down in the heart of rush hour because it would create too much of a delay for all the city’s commuters.

So we were filming the scene in heavy, live traffic, on the freeway, driving at top speed.

Covering for me were the two newest, greenest CHP officers I’ve ever worked with. They had zero experience assisting with this sort of assignment. Furthermore, they were driving the wrong vehicles for the job; they should have been on motorcycles, but instead they were driving police cars.

So my heart was racing as I merged my extra-wide load with the actors, Mann, the crew and all the camera gear onto the freeway at what seemed like breakneck speed.

CHP was doing their best, but the thing is, people get so excited when they see a Hollywood film crew and cameras. Commuters on the freeway were honking and pointing and waving.

The threat of an accident was all too real, and the 2 cops I was working with were panicking. They didn’t know what to do to properly protect us from the traffic that was coming up from behind the camera car.

Apparently, they concluded that we had to abort the mission, but they failed to communicate that conclusion to me. They were so overwhelmed that they didn’t explain to me that they were planning to exit the freeway. They sped off the offramp at the last second, like those cars you see who realize they are about to miss the offramp and swerve over at the last second, almost killing everyone in their wake.

Meanwhile, I had no idea where I was going and when I was supposed to exit. It was madness.

But if I’d followed the CHP guys, the movie wouldn’t have finished production, and you’d have heard of me as the guy who killed a bunch of Hollywood luminaries. There was no way I could safely swerve off the freeway and follow the cops. None of the crew members were wearing seatbelts, and we might have even flipped the camera car over.

Well, you’ve probably heard that old Hollywood cliché: The show must go on.

Day morphed into night, and darkness descended on the city. Traffic eased, but I was still on my own to navigate the busy freeway, with the talent and the crew counting on me to get it right.

Traffic was racing; horns were honking; people were waving at us and staring. Pacino was fully in the moment and in character; he pretended to drive his car with a serious look on his face. The camera crew was capturing every nuance.

I’m into extreme sports like skiing, mountain biking, ocean sailing and bungee jumping. I’ve been in some crazy situations, but I think that day’s adrenaline rushes were the most substantial I’ve ever experienced.

In the end, we got the job done, and the movie was well-received.

There are things people sometimes get wrong about that movie. There’s been speculation that Pacino and De Niro weren’t actually together during the filming. But this is off base. I’m here to tell you that they were definitely together.

One of the most remarkable scenes in the movie is the one where Pacino and De Niro meet each other for coffee.

I wasn’t there to witness the shooting of that scene, but I clearly remember being present for another scene where these two legends appear together in the film. I’m talking about the scene where Pacino’s character pulls over De Niro’s character and suggests they meet for coffee.

Both actors were present for that scene, and I drove them together in my camera car. Pacino and De Niro were both seated in the car I was towing.

The sound guy was in the front seat of the camera car with me; he had his headphones down, and through the headphones, we could hear the two legendary actors chatting with each other. I wish I could remember what they were talking about; I don’t. But I do remember that they were cordial to each other, and that it sounded like a remarkable conversation they were having.

And I have many stories like that to tell, because I worked in the Hollywood motion picture industry for 13+ years. During that time, I worked with many of the most exceptional camera crews, the most noteworthy editors and the brightest talent in the business.

And so I learned how the pros put productions together by being on set, playing a variety of roles and seeing firsthand how the pieces of the movie-making puzzle all fit together.

All that experience later led to another remarkable venture.

Fast forward to 2019 in Brian Head, Utah: I seized an opportunity to start a local HD cable television channel in this little mountain resort town.

Like most other TV channels, mine was intended to be funded by advertising.

But the area was truly unique because virtually all the local properties were vacation rentals and second homes; the vast majority of the local property owners were from other states.

This situation made it extremely challenging for local real estate brokers and agents to identify prospects who wanted to buy property in the area and market to them. So I wanted to create opportunities that would help them reach the people who were likeliest to actually buy property in the area. Some of the most promising prospects were the short-term renters who frequently spent time in the area skiing, snowboarding and mountain biking.

I set my marketing up so that local brokers and agents could advertise on my channel risk-free. I handled their photography, produced their unbranded listing videos, and at that time I would add a branded video to the HD television channel and website. The goal was to drive inbound resort traffic to their listings.

In turn these agents paid me a percentage of commission on their successfully closed sales as a referral fee for my marketing efforts.

At the time, I wasn’t planning on becoming a real estate agent; my goal was to operate a TV channel and media company. But the state of Utah wouldn’t let me do what I wanted to do unless I got licensed to sell real estate – so I complied. I still have a current real estate license in the state of Utah.

That business model worked really well for everyone involved until the COVID-19 crisis killed my TV channel. In the long term, I’d planned for the majority of the channel’s funding to come from tourism-related advertising, and I was working on setting up those deals.

But the local resort closed in response to COVID-19. As soon as word spread that there was a killer virus going around, tourism fell out of favor, and the corresponding advertising dollars dried up, too.

So the TV channel was no longer viable. It would be an understatement to say that I was disappointed to pull the plug on it.

But one really fantastic thing did happen as a result of that experience: I had an even better idea for a business. I founded a tech startup that I envision will be bigger and better than the TV channel ever would have been.

Looking ahead to the future, the tech startup I founded has the potential to revolutionize communications for everyone on planet earth – but it’ll take years and a massive amount of work to get it to that point.

Brian Head, Utah isn’t a viable location for the headquarters of this incredibly complex tech startup. I’ll need the talent pool and resources of a big city if I hope to make this venture reach its fullest potential.

So I moved to the Austin area, and here I am.

My plan is to use this media company to continue self-funding my tech startup.

So while this media business is risky for me, I am willing to take the risk because I see it as being a viable way to continue funding this technology. I hope you’ll take me up on my invitation to collaborate.

I’m able to easily bill you for this deferred service payable only upon closing by setting up the deal as a standard referral fee. This is completely legal and ethical because a referral fee can be paid for any marketing services two licensed broker / agents agree upon. Please feel free to check with your broker if you have any questions or concerns.

The easiest method for handling payment would be for you to simply pass this agreement to your title company when you have an accepted offer and open the file, and have them make the referral fee disbursement. Of course if your broker insists on cutting the check after title sends them their commission, this is also acceptable. Either way, this proposal is a win-win for everyone involved.

If this arrangement is agreeable to you, I invite you to use the booking engine at this site to set up any qualifying future photography and videography sessions you’ll need. If it is not viable, I also offer a discounted prepaid package as well that should be very attractive. You can also setup combinations of deferred and prepaid packages if you like.

Please only set up deferred payment sessions for properties that meet the following criteria and you understand the approval process:

1. The seller is offering a buyer’s agent commission.
2. The list price of the home is at least $500,000.
3. The property is located in Austin or the surrounding areas up to about 20 miles away.
4. You understand deferred orders are pending final approval. Final approval is granted after you first complete the referral agreement emailed to you, by adding your listing’s property address, your name, company and yours and your brokers signature to it. Then email it back to me manually or with an electronic signing service. If approved, I will sign off.
5. To expedite approval, along with the referral agreement, please email me the buyer’s agent commission percentage. As a licensed realtor I can be made privy to the BAC upon request. My current license, brokerage and NAR member# will be included in your email issued with the referral agreement.

Let’s work together to market your properties and get your listings sold!

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