Your pitch deck says immersive rooftop launch with projection walls; the client sees a bulleted list. Describe the concept in chat — guests stepping off the elevator into amber light, the reveal at 9 p.m. — and Dreamz directs a film of the event before a single vendor is booked.
The client watches their own event as cinema — arrivals, atmosphere, the headline moment — and your proposal stops competing on price alone.
Registration-driving promos for conferences, galas, and launches that dramatize the reason to attend, not just the date and venue.
A directed film of the sponsored moment — logo on the lightwall, the branded lounge at capacity — sells packages faster than a mockup slide.
Describe the event you envision and get an aftermovie-styled film in advance — the energy of a recap, available before ticket sales open.
Dreamz is also a Claude connector (MCP) — describe your film to Claude and the finished video comes back in the conversation. If Claude is already your workspace, your film studio now lives there too.
Tell Dreamz about the video for event planners you want — story, mood, who's in it. The director agent writes the script and casts characters with you, in chat.
Scenes generate live on your dashboard — visuals, voices, music and editing handled for you, with the exact price quoted before anything is charged.
Watch the finished cut, request changes in plain words, then download it — everything you make is commercially yours.
You had the whole thing in your head — guests coming off the elevator into a dark corridor, the room revealing itself in amber at exactly 9 p.m., the sound design shifting under the reveal. Then you put it into a slide, and it became a bulleted list next to a Pinterest board. The client's marketing director reads "immersive rooftop activation" and pictures a rooftop with some lights, which is also what she pictures reading your competitor's deck, which is why the decision collapses to price. This is not a deck-design problem and a better mood board will not fix it. Atmosphere is temporal — it is a sequence of arrivals and reveals and pacing — and a slide is by definition atemporal. You are trying to sell a thing that only exists across time using a medium that has no time in it. Meanwhile the client is being asked to authorize a six-figure spend on a room that does not exist, from a document that requires them to do the imagining. Most of them cannot. That is not a failure of their imagination; it is a failure of format.
The whole surface is a chat. You describe the event as if it already happened; it asks what it needs — format and aspect ratio if unstated, the client's brand world, the headline moment; it quotes an exact price in chat, and nothing bills until you approve. It then writes a screenplay and shows you the entire thing before a frame renders, which for a concept film is the actual deliverable review — if the reveal lands on the page it will land on screen. Paste something like: "A 70-second horizontal concept film for a fintech client's product launch, 300 guests, rooftop in Austin, late September, warm evening. Guests exit the elevator into a black corridor lit only at ankle height. They emerge onto the deck at dusk — nothing but a bar and low amber. At 9 p.m. the projection walls come alive across all four surfaces and the skyline goes behind them. One woman stops mid-sentence. That's the shot. End wide, room at capacity, city behind. Brand palette is navy and copper. No confetti, no DJ booth hero shots, no drone." Revise in plain words. The finished film arrives in the same chat, commercially yours to put in the deck.
A concept film is persuasive precisely because it looks real, which is exactly why it needs handling. The client should never be able to reasonably believe they are looking at a photograph of a booked venue, a contracted performer, or a fabrication estimate you have not priced. Practically, this means briefing the film toward the experience and away from the deliverable spec: show the quality of the amber light rather than a specific fixture count, show the crowd's reaction rather than a rigging plan. Label the film as a concept visualization wherever it appears, in the deck and in the file name, and say the same thing out loud when you screen it. If the client's brand marks appear, that is their IP and their approval to give — brief it, but get it in writing. And avoid staging anything you cannot actually deliver at the budget on the table, because the film sets an expectation you will be held to on site. Used this way the film stops being a risk and becomes the safest part of the pitch: everyone has now seen the same event.
Planners tend to make the concept film and then try to reuse it for sponsor sales, and it underperforms, because the two audiences want opposite things. The client wants to feel the room. The sponsor wants to see their logo occupying real estate in front of a crowd, and to be able to picture the photo their CMO will get. The concept film's best move — cutting away from the brand moment to a guest's face — is the sponsor film's worst move. Describe the sponsor piece separately: hold on the lightwall with the mark on it, show the branded lounge at capacity rather than tastefully sparse, and give the activation a beat of its own rather than folding it into the atmosphere. Length differs too; sponsor decks get skimmed, so thirty seconds beats seventy. Same event, same palette, entirely different edit and screenplay, each with its own exact quote in the same conversation. Making both is cheaper than making one that limps at both jobs, and it means you walk into the sponsor meeting with something built for the person in the chair.
No — Dreamz generates original films from a description and does not edit uploaded footage. Its strength is showing events that have not happened yet: pitches, promos, sponsor visions.
Per finished video, quoted exactly in chat before anything is charged — the approved quote is the exact charge. Short films start at a few dollars.
Yes. Describe the client's brand palette, audience, and event goals in chat, and the film is directed around their world, not a generic ballroom.
You do either way — every film is commercially yours to reuse, re-pitch, or adapt into your agency's showreel.
You describe the concept in chat and receive a finished, directed film — no crew scheduling, no location scouting — so tight RFP timelines still work.
Describe what you need and get their approval first — their marks are their property, and a pitch film that uses them without permission is a problem regardless of how good it looks. Many planners brief a neutral placeholder for the first pass and add the mark once the client signs off.
Brief toward experience, not spec. The screenplay you approve before the render is where you catch a shot that implies a stage you have not budgeted. If it is not in the estimate, cut it in plain words before anything renders.
Around a minute, played once, with you silent while it runs. Anything longer and the room starts checking phones; anything shorter and the atmosphere has no time to build. If you need a version for the leave-behind deck, describe that as a separate, shorter film.
Yes. Dreamz ships an official Claude connector (MCP): connect it once in Claude, then describe the video you want in any conversation — pricing quotes, drafts and the finished film are delivered right in the chat. The website and the Claude connector share the same account and pricing.
Describe the room, the light, and the moment — and walk into the pitch with the film.