A Social first
CONTENT
studio
INvestor business plan
EXECUTIVE
SUMMARY
Production House is a social first content studio focused on building owned intellectual property, direct audience relationships, and durable revenue streams.
The company applies the operating principles of the creator economy to premium documentary filmmaking. Instead of producing films in isolation and hoping audiences appear after release, Production House builds audiences in advance through consistent social storytelling and then monetizes those audiences through sponsorship, merchandise, and premium distribution.
This model allows Production House to validate demand early, retain ownership of both IP and audiences, and compound value across a slate of projects rather than relying on one off success.
The thesis
OUTSIDE OF FOOD AND WATER
CONTENT
IS THE MOST CONSUMED
PRODUCT ON EARTH.
01.
Over the last decade, creators have demonstrated a fundamental shift in how media businesses are built:
Creators build audiences first, then monetize
vs
Traditional studios build content first, then hope audiences appear
02.
production house applies the creator model to premium documentary ip by:
Building audiences ahead of release
Monetizing through sponsorship, merchandise, and premium distribution
03.
This approach works because it:
Lowers risk
Aligns creative development with audience demand from the start
Reduce dependence on gatekeepers and post release marketing
Create compounding value by owning both intellectual property and direct audience relationships
The Problem
TRADITIONAL
FILM FINANCING
is structurally misaligned
WITH MODERN AUDIENCE BEHAVIOR.
Key issues include:
Capital deployed before demand is validated
Dependence on festivals and gatekeepers
Distribution that is rented, not owned
Marketing that begins after release
The result is a system with:
High upfront risk
Slow feedback loops
Limited ability to compound value
The Opportunity
THE CREATOR ECONOMY
HAS ALREADY PROVEN
HOW AUDIENCES BEHAVE.
WHAT IS MISSING?
Most creators lack the resources to produce premium long form content
Most studios lack systems to build audiences before release
Very few companies are designed to do both
A SCALABLE CONTENT STUDIO
designed specifically
for that behavior
IS MISSING.
Billions of hours of creator led content are consumed monthly on YouTube and TikTok
Direct to audience monetization now outperforms traditional media models for top channels
Audiences increasingly form loyalty to creators, characters, and worlds, not platforms
This behavior is established and growing.
The Studio Gap
Despite this shift:
Most creators lack the resources to produce premium long form content
1
Production House exists to fill this gap.
Most studios lack systems to build audiences before release
2
Very few companies are designed to do both
3
The Model and Why It Works
Production House builds original documentary IP using a creator first operating system.
Creators like MrBeast, Dude Perfect, Emma Chamberlain, and Yes Theory did not wait for distribution. They built audiences first and monetized second. Production House applies that same discipline to documentary storytelling.
How the Model Works
Each project operates as a self contained ecosystem:
Dedicated social channels launched per vertical
Recurring, character driven social series build familiarity and trust
Demand validated before premium release
Merchandise and sponsorship introduced early
Premium documentary released to an existing audience
Revenue reinvested to expand the IP
This system is applied consistently across the slate.
Audiences are built before capital intensive releases
Why It Works
Demand is tested in real time
Monetization begins early and compounds
IP ownership and audience relationships are retained
Risk is diversified across multiple projects
The Advantage
Creators excel at audience building.
Studios excel at premium production
Production House combines both into a repeatable, scalable model aligned with modern consumption behavior.
The Slate, Audiences, and Strategic Role
Each documentary in the slate is built around a clearly defined, highly engaged audience with proven digital scale. Each vertical also plays a distinct role within the overall portfolio.
Weekend warriors
Vertical:
Professional Wrestling
Estimated audience:
15 to 25 million
Targets:
Independent wrestling fans
WWE and AEW adjacent audiences
Comedy and mockumentary viewers
Meme culture and short form video consumers
Logline:
A mockumentary follows a misfit Midwest wrestling promotion where egos and ambition spiral on the road to the biggest show of the year.
Strategic role:
Character driven comedy. Merchandise forward. Proof of social to premium conversion.
Daymakers
Vertical:
Beauty and Wellness
Estimated audience:
30 to 50 million
Targets:
Beauty professionals and students
Lifestyle and self improvement audiences
Transformation content consumers
Education driven, sponsor friendly demographic
Logline:
An immigrant armed with a pair of shears transforms the beauty industry and generations of artists, redefining what it means to make someone’s day.
Strategic role:
Sponsor friendly. Education driven. Long tail utility content.
Santa
Vertical:
Christmas and Family
Estimated audience:
40 to 70 million
Targets:
Seasonal holiday viewers
Family oriented and faith adjacent audiences
Feel good storytelling fans
Logline:
A former Marine lives the spirit of Christmas year round, proving kindness is practiced every day.
Strategic role:
Seasonal anchor. Predictable demand. Values driven partnerships.
Pug queen
Vertical:
Pets and Animal Rescue
Estimated audience:
25 to 40 million
Targets:
Dog owners and pet lovers
Animal rescue communities
Emotionally driven audiences
Logline:
A former Playboy Bunny and her fiancé rescue abused pugs, revealing the emotional cost of living a life of purpose.
Strategic role:
Always on emotional engine. Community driven upside.
The Great Migration
Vertical:
Hockey and Sports Culture
Estimated audience:
8 to 15 million
Targets:
Hockey fans and players
Amateur and recreational sports communities
Event driven sports audiences
Logline:
Each winter, thousands of hockey players migrate to a frozen pond in Wisconsin for the game in its purest form.
Strategic role:
Event based ritual. Sports culture. Apparel and brand alignment.
Audience Strategy and Social First Execution
Production House selects niches where audience behavior, not trend chasing, drives repeat engagement and monetization.
Across all verticals, audiences share:
Strong identity and community alignment • High repeat consumption behavior • Affinity for merchandise and direct support • Long tail interest rather than one time viewing
Execution Principles
• Separate social accounts per vertical • Recurring series rather than one off posts • TikTok and YouTube as primary platforms • Social narratives planned alongside premium production • No gap between social momentum and release
The result is a system where audience relationships are built early, owned directly, and monetized across multiple channels.
Development
Vertical Lifecycle and Release Framework
Each project follows the same structured lifecycle, with staggered phases across the slate to balance focus, momentum, and capital efficiency.
Long tail audience engagement
Lifecycle components include:
Multiple social phases
Monetization and release
Premium production and post production
Releases are timed to cultural or seasonal relevance rather than fixed calendars. This creates a repeatable, demand driven operating system.
Team and Operating Model
Director 〰️ Producer 〰️ Assistant Director 〰️ Shooter / Editors 〰️ Social Media Manager
〰️
Director 〰️ Producer 〰️ Assistant Director 〰️ Shooter / Editors 〰️ Social Media Manager 〰️
Production House operates with a lean, senior level core team supported by specialized freelance talent.
Director
Creative vision and storytelling leadership
Producer
Strategy, budgets, schedules, and sponsor coordination
Premium content is supported by experienced freelance specialists hired per project, including directors of photography, gaffers, sound mixers, editors, colorists, and sound designers.
Core team roles include:
Shooter / Editors²
High volume social production
Assistant Director
Day to day execution and momentum
Social Media Manager
Platform strategy and engagement
Social content is produced in house for speed and consistency. Premium content leverages specialized talent to ensure quality and flexibility.
Use of Funds and Tax Credit Strategy
Investor capital is deployed intentionally to maximize Illinois Film Tax Credit eligibility while protecting downside.
100 percent of investor capital invested into project level LLCs
Key elements of the strategy:
Capital allocated to qualifying production spend
Staff and operations funded through revenue
Production House engaged under production services agreements
Approximately four million dollars of the five million dollar raise is expected to qualify for the tax credit. At an estimated thirty five percent return, this represents approximately one point four million dollars in value.
Pug Queen does not qualify for the tax credit and is funded entirely through operating profits.
Revenue Generation
The projected eight to ten million dollars in total slate revenue is generated through diversified, repeatable streams over two years.
Primary contributors include:
Merchandise and direct to audience commerce
1
Premium transactional distribution
2
Sponsorship and platform advertising as support
3
Merchandise and premium content represent the largest drivers, preserving ownership and long term optionality.
Governance, Partnership, and Control
Production House is built as a founder led creative platform with institutional discipline.
Creative authority remains centralized under the Founder and Director
Investors participate at the company level
Transparent reporting and collaboration on strategy and growth
Founder retains creative control while welcoming aligned capital partners as long term collaborators.
Track Record and Credibility
Production House has demonstrated execution capability across festivals, institutions, and brands.
Teacher premiered at SXSW EDU
Sadermania premiered at the Chicago International Film Festival
Anti vaping campaign for the City of Chicago recognized by Ad Age
This track record signals both creative credibility and operational discipline.
This is not a single project investment.
It is the foundation of a modern documentary studio built on owned audiences, premium IP, and diversified revenue streams.
Production House is designed to compound value over time.