Cinematic, investor-ready decks for film, television, combat sports, creators — and any business, brand or idea that has to be sold in a room. Written, art-directed and financially modeled by a filmmaker, and back in your hands in days, not weeks.
Most decks are exactly that, and the people in the room can tell within two slides. Film, business or anything else you need to sell.
I write, direct, produce and edit. Your project gets read for story, tone and stakes before anything gets designed. That judgment is the product.
Agencies take one to two weeks and bill accordingly. You get a first draft while the conversation is still warm.
Every deck gets its own palette, typography and original key art. A fight series should never look like a romance.
A print-faithful PDF on every package, a private live link from Signature up, and the source visuals with Premium. Who’s attached stays accurate; casting and brand ideas stay labeled aspirational.
Audience and market, comparable titles, revenue model, budget, projections, distribution windows — drafted alongside the visuals, not bolted on after. A deck that only looks good gets a polite nod; one that answers the money question gets a meeting.
A funding round, a sponsorship, a conference talk, a product launch — the job is the same one: make a room believe something before the questions start. Story, tone and stakes decide that, whatever the subject. If you have to sell an idea, this works for you.
Client projects lead. Below them, spec decks built to demonstrate range. Click any one to open it.
No hourly billing, no guessing. Most projects land in the middle column.
| TeaserA first look that opens doors | Most projectsSignatureThe full pitch, ready to raise | PremiumEvery format, in motion | |
|---|---|---|---|
| The step up | A sharp first look that opens the door. | Everything in Teaser, plus the full 15–20 slide pitch, a bespoke title treatment, world and character key art, and a private live link. | Everything in Signature, plus a second complete edition in a new art direction, motion, my personal finishing pass, a vertical cut and a second revision round. |
| Slides | 8–10 | 15–20 | 15–20 plus a vertical cut |
| Art direction | Custom palette and type | Full bespoke look, custom title treatment | Full bespoke look, custom title treatment |
| Editions | One | One — add a second edition in a new art direction as an add-on | Two complete editions, each in its own art direction — choose one or keep both |
| Original key art | Cover image | Cover, world, character and lookbook frames | Signature plus storyboard frames |
| Creative finish | Clean and polished | Curated, polished frames | My personal enhancement pass on every frame |
| Motion | Add-on | Add-on | Animated key slides included |
| Revisions | One round | One round | Two rounds |
| You receive | PDF and private live link | PDF and live link for both editions, animated slides, vertical cut, source images | |
| Turnaround | 2–3 days | 3–5 days | 5–7 days |
| Investment | $900–1,500 | $2,800–4,500 | $5,500–8,000 |
Speed like this isn't corner-cutting. It's a pipeline I designed and keep refining.
I didn't license a template. I built the engine this studio runs on.
Locked visual mediums, narrative structures, a typography and title-treatment system, a composition rhythm applied slide by slide — designed around how a pitch actually gets read in a room.
Original key art, art-directed by me in Adobe Firefly. The prompts are their own craft.
Built in passes — world, then shot, then lens, palette, lighting, grade. Characters and settings carry across frames, so a deck reads as one film instead of a folder of stock moods. The more you tell me about your world, the more exactly it comes back realized.
AI is a tool in my hands the way an edit bay is.
Structure first, then language, then a second creative pass before a single slide is designed. Every judgment call, every cut and the final read are mine.
Most deck designers hand back a pretty document. Mine builds the case inside it.
The same engine that art-directs your deck also drafts the parts people skip: the audience and market read, the comparable titles, the revenue model, a budget breakdown and a financial projection, the distribution windows, the packaging wishlist. You get a pitch that survives the second question, not just the first look — and every number stays yours to correct.
Some slides land harder moving.
Five-to-fifteen-second clips generated to that deck's own art direction, placed deliberately — not a reel bolted to the end. Score built for those moments, original and cleared. Motion comes built into Premium, alongside my own finishing pass on every frame; on Teaser and Signature it’s an add-on. Sound is an add-on on every package.
A studio pipeline's range and turnaround, with one filmmaker's taste running through all of it — and one person accountable for the result.
I'm a writer, director, producer and editor based in Las Vegas. I've been shooting since I was nine, on my dad's camcorder, and I've spent my career since making films, series and combat-sports work.
That's the whole difference. I read a project for story, tone and stakes before I think about a single slide. A deck that only looks good gets a polite nod. A deck built by someone who understands what the project actually is makes people lean forward.
Every deck on this page was written, art-directed and built by me. When you hire me, that's who does your work too.
Garrett Krumpe · Las Vegas, Nevada
A few lines on the idea, what kind of pitch it is, who it’s going in front of and when you need it. Anything else helps — a script, treatment, business plan, existing deck, brand assets or reference images — and you can attach it all straight to the form below. A two-minute form or a fifteen-minute call covers it.
A teaser in two to three days, a full deck in three to five, the premium package in five to seven. If you need it faster, rush turnaround is available for an additional 40%.
One consolidated round on Teaser and Signature, two on Premium. A round means refinements — copy, images, color, layout. If the project changes direction after approval, that's a new round and I'll quote it before starting.
That's normal and it's not a problem. Plenty of projects come to me as a concept and a director’s instinct — or a founder’s. I'll structure what you do have into something that argues for the project, and flag clearly anything that reads as illustrative rather than locked.
Yes. Every package includes a PDF you can forward, print or mark up, and from Signature up you also get a private link to the live deck that opens in any browser — no account, no software. Premium adds animated key slides, a second complete edition and a vertical version for phones. On Teaser and Signature, motion is an add-on; sound design is an add-on on every package. Motion and sound play in the live link.
No. Film and television are home turf, but the craft — story, tone and stakes, built to win a room — works for anything you need to sell: a seed round, an invention, a product launch, a brand partnership, a grant or a keynote. Crowd Capital, in the spec work above, is a fintech investor deck built exactly the same way.
Yes. Nothing goes in my portfolio without your written say-so, and if a project is sensitive I'll keep the live link private and unlisted. Any client project shown here is shown with permission, and unannounced ones are previewed only — the full decks never go on the site.
Yes, as one instrument inside a process I built and control — and I'd rather say so plainly than have you wonder. Original key art is generated to my art direction in Adobe Firefly, then selected and graded by me. Drafting runs through a multi-pass system I developed, and the decks are assembled in Deckmate, a builder I wrote myself rather than a template I bought. What that does is compress the production time, not the thinking. The story judgment, the art direction and the final read are mine, and I'm accountable for every frame that ships. If your financiers or partners need that stated differently, or need certain assets produced another way, tell me early and I'll work to it.
A film or a series — or a startup, an invention, a product, a business, a cause. If it has to win a room, it starts here. Two minutes here saves a week of back and forth. You get a package, a price and a delivery date. If it isn't a fit, I'll tell you that too.
Thanks — I have your project and I'll come back to you within one business day with a package, a price and a delivery date.
This is a real client project that hasn't been announced yet. The remaining slides are available on request.
