You spend your life making other people look extraordinary while your own marketing is a static grid. Describe what a session with you feels like — the nerves melting by frame twenty, the gallery reveal — and Dreamz directs the brand film that sells your eye, in motion.
A nervous character arrives camera-shy and leaves lighter — the experience film that answers what hiring you actually feels like, which a portfolio grid never can.
Why you shoot at golden hour, why you wait for the unposed second — a directed short about your eye that separates you from every other portfolio in town.
Mini-session announcements, wedding-season openers, senior-portrait pushes — each described in chat and delivered as a finished cinematic promo.
Dreamz generates the entire film — script, cast approved from portraits, voices, score, edit — so you get moving-image marketing without becoming a videographer.
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 photographers 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.
Your portfolio is doing exactly one job well: it proves you can make an image. That job was contested in 2012 and is not contested now — the client scrolling your feed already assumes you are competent, because forty photographers in your city post competent work. What they cannot tell from a grid is what the two hours in the middle are like. Will they be told what to do with their hands? Will there be a long silence while you change lenses and they stand there feeling stupid? Will their partner, who did not want this, be miserable? These are the actual questions, and they are questions about an experience, which a still image structurally cannot answer. This is the strange bind of the profession: you are the person who understands better than anyone that an image is a compressed moment, and your own marketing consists entirely of compressed moments with the experience stripped out. Moving image is not a trend you are behind on. It is the only format that can carry the part of your offering the grid cannot.
There is no editor and nothing to upload — the product is a chat. You describe the film, it asks what it needs to know (format and aspect ratio if unstated, plus the specifics of your work), it quotes an exact price in chat that nothing bills against until you approve, and it writes a full screenplay you read before a frame renders. Photographers tend to over-brief the look and under-brief the story; do both. Try: "A 75-second horizontal film for my couples portrait work in Portland. Open on Nadia and Tom in the car outside Forest Park, arguing quietly about whether this was worth the money. First ten minutes are stiff — hands wrong, Tom's jaw set. The photographer stops shooting and asks how they met. Tom laughs at his own answer. That's the frame. End on the gallery reveal at their kitchen table, Nadia going quiet at the one where he's laughing. Overcast Oregon light, no direct sun, film grain, muted greens, no wide sweeping drone anything. Quiet score or none." Then read the screenplay like you would read a shot list. If the reveal scene is sentimental, cut it in plain words. The finished film arrives in the same chat, commercially yours.
You have spent years developing a look you can execute without thinking, which makes it hard to describe. Do it anyway, in the terms you would use to another photographer, because the direction follows the brief and a vague brief produces a generic result. Say the quality of light, not the mood word: overcast north-facing window rather than "soft." Say the era of the reference: Kodak Portra rendering, not "warm." Say what you never do — no direct flash, no teal in the shadows, nobody looking at the lens. Negative constraints are unusually powerful here, because the default gravity of any generated image is toward the most common version of the subject, which is exactly the version you spent a decade escaping. Also name your palette in the language you actually use with clients, since that is what your prospect will recognize when they compare the film to your grid. The goal is not for the film to contain your photographs. It is for the film to look like it was made by the person who took them.
If you shoot weddings, newborns, and brand work, those are three businesses wearing one logo, and one film cannot serve them. The wedding client is buying reassurance under time pressure. The newborn client is buying safety and patience, and is exhausted. The brand client is buying reliability and turnaround and does not care about your feelings at all. The tone, pacing, and even the length of each film should differ — the newborn piece should be slow and quiet because that is the promise; the brand piece should be brisk because slowness reads as unprofessional to a marketing manager. The wedding film carries an extra constraint worth naming: booking is seasonal and decided months out, so its job is not to close today but to be memorable in March when they finally sit down to choose. That argues for a story with one specific human beat, not a montage of your greatest hits. Each genre is its own described film with its own exact quote in the same conversation, and they should not look like siblings.
No — Dreamz generates original directed films rather than editing uploaded images or footage. It builds the story around your work: the experience, the philosophy, the booking pitch.
The exact price is quoted in chat before anything is charged, and the approved quote is the exact charge. Short films start at a few dollars.
Yes. Every film is commercially yours — website hero, Instagram ads, wedding-fair screens, and inquiry auto-replies included.
Yes. Describe your palette, light, and mood in chat — airy and overexposed, moody film-grain — and the direction follows your aesthetic.
Yes — weddings, newborns, brand work — each genre gets its own described film and its own exact quote in the same conversation.
Often the stronger choice is to keep them mostly off-camera and shoot the client's experience, because the viewer is casting themselves as the client, not the photographer. Brief it either way — you approve every character from portraits before the render, so you decide who is in frame.
Negative constraints in the brief. Name what you never shoot — lens flares, drone pulls, direct eye contact, saturated skies — and the screenplay will come back without them. Reviewing the script before the render is where you catch drift toward the generic.
Describe it as its own film with its own quote. A 15-second vertical piece is not a trim of a 75-second horizontal one — it needs a different beat structure to land, and briefing it fresh gets you a better result than a crop.
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 what a session with you feels like and get the film that books the next one.