Main VSL 2.0 · Cut from the actual export · For Ryan

The Enquiry Hunter

Every frame here is pulled from the real file on the drive, and every timecode is the real one off the audio. Scrub to the number on a panel and you are looking at exactly that moment. What is drawn on top is a starting point, not a lock.

Source
3840x2160 · 50fps
Read length
15:03
Angles
One
Panels
65 across 15 scenes
Target out
13:30 to 14:00
Then
22 shorts · 9:16

The whole film at a glance

Every block is a scene, sized to how long it actually runs. Brighter bar on top means cut harder. Click a block to jump to it.

01Intro02Outdated strategies03You are not here by chance04Who am I05Our results06The Enquiry Hunter07What you are probably thinking08Stage 1 · Lead Capture09Stage 2 · Nurture Protocol10Stage 3 · Strike Operation11Stage 4 · Results Reload12Content alone is not enough13The penalty14Who this is for15What now
0:003:457:3011:1515:03

Proof is a fifth of the film

Results runs 3 minutes exactly, twice as long as anything else. That is the right call for a cold viewer, and it means the edit is won or lost in that one scene.

The drop-off zone is 0:58 to 2:34

Outdated Strategies is 1 minute 36 with almost nothing to cut away to. It is the longest stretch of pure talking in the film. It needs more graphic work than any other scene, or people leave there.

Stage 3 is half the size of Stage 2

Nurture runs 1:12, Strike runs 30 seconds. Visually it has to punch above its length or the four stages feel lopsided.

What we are actually working with

Worth knowing before you open the project, because it changes how you cut.

One angle, one take

Locked off mid shot, no second camera, no coverage. Every cut is a jump cut unless you change the size or cover it. Plan cuts in pairs with a size change and they disappear.

4K master, so punch carefully

Locked: 3840x2160 timeline and export. Source is also 3840, so there is no spare width and every punch in is an upscale. That does not mean no punching, it means knowing what each one costs. See the three sizes below.

50fps source, 25fps out

Every second frame is spare. That gives you clean half speed on anything, and it makes slow digital push ins smooth instead of steppy. Use it on the push ins, not on speech.

The read beat the script

He ad libbed through Results and it is better than what was written. The footage is the source of truth now, not the Notion doc. Cut what he said, not what was scripted.

He dropped a swear and added one

The scripted swear at the end of the intro is gone, he just says “let’s get into it”. The real ones are 1:19 and 8:35. Only pull the music on those two.

The mic is in every frame

The boom crosses the bottom left and it never fully clears, even at the closest size we can safely punch to. What punching does is demote it from crossing the frame to sitting in a corner, which is enough on the intimate lines.

Where graphics live

The background never changes, so the clean space never moves. Camera right, mid height, every single frame of the film.

Reference frame from the VSL with the graphics safe zone marked camera right GRAPHICS ZONE MIC AND DESK
One more thing in your favour. The blue on the boom arm and the practicals behind him is already close to brand blue. Blue graphics will feel like they belong in the room rather than stuck on top of it. Do not fight that with any other colour.

Three sizes from one angle

There is no second camera, so build one. These are real crops off the same frame at 5:00. Treat them as angle A, B and C and cut between them like coverage.

Size A, the full frame as shot
SIZE A · 100% · NATIVE 4KWideAs shot, no scaling, sharpest picture in the film. Opens a scene and lets a thought breathe. The default, and most of the film should sit here.
Size B, a 118 percent punch in
SIZE B · 118% · FREE IN PRACTICEMidA 1.18x upscale is invisible at normal viewing distance. Clears the desk and monitor bottom left, keeps the text zone camera right. Use it freely.
Size C, a 150 percent punch in
SIZE C · 150% · COSTS SHARPNESSCloseA 1.5x upscale, so this one is genuinely softer. Worth it on the eight beats where it is used, and nowhere else.

Step, do not jump

A to B and B to C read as edits. A straight to C reads as a mistake, unless the jump itself is the point, which is true maybe twice in the film. Both are marked on the panels.

Change size or cover it

Any cut that keeps the same size and has no B-roll or graphic over it will show. That is the single rule that keeps a one angle film invisible.

Never put a graphic on a C

Softness is only noticed next to sharpness. A slightly soft face on its own reads as intimate. The same face beside a razor sharp 4K caption reads as broken. All eight C shots in this board already carry no graphic, which is why the close size costs nothing in practice. Keep it that way.

Close means something

Every C in this storyboard is on a line where he is being honest rather than persuasive. If you add more, add them for the same reason, and check the no graphic rule still holds.

Seven things that do not move

The read is sacred

Cut pauses, stumbles and dead air. Never reorder his argument or move a line into another scene.

Blue, never yellow

The script highlights the name in yellow. That is a Notion highlight, not a design note. On screen it is #A9D0C3.

Numbers match the mouth

If he says two hundred thousand, the screen says £200,000. Never round, never abbreviate, never fix a figure he got slightly wrong without asking.

Nothing stock, nothing AI

Real client footage, real screens, or something you built. The film argues against fake, so it cannot look fake.

Proof beats decoration

If a graphic does not prove or clarify something, cut it. A held face beats a swipe every time.

One scene, one sequence

Keep every scene in its own timeline, named by scene. Revisions and the shorts pass then take minutes instead of hours.

Never punch past 150%

The master is native 4K, so every punch is an upscale. 150% is the ceiling and it is reserved for the eight close ups. No graphic ever sits on a punched shot past 118%.

What has to exist before you start

Ryan cannot capture these. They come off Lloyd’s machine into the shared Drive folder.

The storyboard

Fifteen scenes in order. The image on every panel is the real frame at that timecode. Size chip bottom right is the punch, A wide, B mid, C close. Amber chip means it is blocked until Lloyd sends a file.

01 Intro 0:00 to 0:58 58s

Hardest working 58 seconds in the film. He gets from cold to a proof point in under a minute, which is quick. Do not slow it down.

0:03A

Open on his face, mid sentence. Nothing before it.

No logo, no sting, no music. Widest size you will use, so everything after feels like it is closing in.

A-roll
0:18B

First punch in, on “it’s got nothing to do with how good you are”.

Cut A to B on the word. The size change is what hides the jump cut.

A-roll
0:28BACTUALLY
KNOW ABOUTMUSIC IN

First text, on “the ones people in your area actually know about”.

Camera right, mid height. That is the clean zone in every frame of this film.

A-rollGraphic
0:36BTHE ENQUIRY HUNTER

He names the system at 0:35. Put it up.

Small and quick here. The full reveal is at 7:24, so do not spend it now.

Graphic
0:45CUT AWAY TO
ACG SITE · WORTHINGACG BUILDERS£500,000 · 6 MONTHS

Cut away to ACG on “half a million pounds worth of work”.

First proof lands at 47 seconds. That is early and it is the reason the open works. Do not delay it.

EvidenceGraphic
0:50ACG · BUILD FOOTAGEFIRST JOB IN7 DAYS · £80,000

Second card on “£80,000 job within seven days”.

One card at a time. Never stack them, the second number is the one that should sting.

EvidenceGraphic
02 Outdated strategies 0:58 to 2:34 96s

The danger zone. 1 minute 36 of talking with almost nothing to cut away to. If anyone drops off, it happens here. This scene needs more graphic work than any other.

1:02A

“Flat out one month, dead quiet the next.” Back to size A and let it breathe.

He drops the scripted swear here and just says “let’s get into it”. Do not cut for one that is not there.

A-roll
1:14CMUSIC DIPS

“You’re saying the exact same shit as everyone else.”

First swear in the film. Pull the music under it for two seconds, then bring it back.

A-roll
1:25BTHIS MIGHT
STING

“This might sting.” The only line that breaks the fourth wall.

Then the sameness list: 20 years, family run, best price, high quality. Those four are begging for a graphic.

A-rollGraphic
1:47
WEBSITE
THEIR INSTAGRAM

Website against their Instagram, side by side.

The whole website argument in one frame. Do not explain it, just show it and cut back to him.

EvidenceNeeds Lloyd
1:58JUNK · SPAM · DELETED

Cold emails. One second of a junk folder is all it needs.

Resist building anything bigger. This line is a throwaway on the way to referrals.

Evidence
2:08WEBSITECOLD EMAILREFERRALSLEAFLETS · DOOR KNOCKING · COLD CALLING

The four dead methods, striking through as he kills them.

Build them in sync with the read and cut back to his face between two of them so it is not one long graphic.

Graphic
2:17
OLD WAYPUSHYOU CHASE THEM
OUR WAYPULLTHEY COME TO YOU

The turn of the scene at 2:15. Push against pull.

Music rebuilds here. This is the first moment the film stops describing the problem.

Graphic
03 You are not here by chance 2:34 to 3:12 38s

Stats then a mirror. The mirror is the payoff, so protect it by putting all the movement in the stats half.

2:3650,000,000FACEBOOK · UK35,000,000INSTAGRAM · UK1,000,000+SUSSEX

Three figures, counting on one at a time as he says them.

Put the source small underneath. It costs nothing and it is the only citation in the film.

Graphic
2:54CSILENCE

“Think about how you ended up watching this.” Hold it. Nothing on screen.

Best beat in the first half. Size C, locked, no graphics, no B-roll, no music for six seconds.

A-roll
3:09BMUSIC BACK

“The social media playing field is sitting there wide open.”

Music back on the same word you cut on, so picture and sound turn together.

A-roll
04 Who am I 3:12 to 4:21 69s

Credentials fast, honesty slow. He earns more trust admitting the wall he hit than from any number in this scene.

3:14A

“Who am I and why should you listen to any of this?”

Widest size of the scene. He is introducing himself, so let him be a person before he is a business.

A-roll
3:20200+CLIENTS5,000+PIECES OF CONTENT400+SHOOTS55FIVE STAR REVIEWS

Credentials, fast. Half a second each, no dwelling.

He says these in one breath, so cut them in one breath. The honest bit after gets the time instead.

Graphic
3:35CMUSIC OUT

“Great content didn’t always turn into new business.” Nothing on screen.

This admission is worth more than every number in the scene. Size C, let it sit.

A-roll
4:00CUT AWAY TO
LLOYD FILMING · SHOOT DAY

Under the strategy and systems line, cut to him actually working.

Shoot day, gimbal, lights, a client laughing. If early Hunt Visuals archive exists, one flash of it here beats any graphic.

Evidence
4:13DAVID LLOYDGYMSHARKMcLAREN

Brand row on “David Lloyd, Gymshark, McLaren”. Three seconds, no fanfare.

Understated reads as true. Bouncing logos read as bragging.

Graphic
05 Our results 4:21 to 7:21 180s

Three minutes, a fifth of the whole film. This is where the edit is won or lost. Four client blocks, identical structure, no montage.

4:28ACG BUILDERS · WORTHINGLEADS COST£20 EACH

Every client block opens the same way. Name, town, where they started.

Four identical structures so it reads as a system, not a highlight reel. Hard cut into each one, no transitions.

Evidence
5:00£200,000EXTENSION£85,000£80,000£76,000£400,000TURNED IT DOWN

Job figures stack as he lists them, then the £400,000 greys out.

The one he turned down is the strongest number in the film. Give it its own beat before the strike through.

Graphic
4:48ACG · DRIVEWAY WORK

Driveways ad libbed at the end of the ACG block.

He goes off script here and it is better than the script. Cut to the work he is describing.

Evidence
5:18BJUDGE FLOORING · BRIGHTONSTEVE

Judge Flooring. Steve, Brighton and Hove.

Softest block of the four because it is the only one about fear rather than money.

A-rollGraphic
5:33C

“He actually called me and said he was worried.” Nothing on screen.

Pure ad lib, not in the script, and the most human thirty seconds in the film. Do not cover it with anything.

A-roll
5:42
HE SPENT£300WEEK ONE
HE GOT BACK£40,0009 APPOINTMENTS

£300 against £40,000. Put them side by side and let the gap argue.

Nine showroom appointments sits under the right hand figure. Collected in cash within two months goes under that.

Graphic
6:052 NEW FITTERS1 APPRENTICEOFFICE STAFFLOOKING AT A BIGGER UNIT

Two new fitters, an apprentice, office staff, now eyeing a bigger warehouse.

All ad libbed. This is the growth curve of the whole pitch in one sentence, so put it on screen.

Graphic
6:19C

“He’s too stressed from having too much work.”

The one laugh in the film. Land it, hold a beat, then hard cut into Kodama. Do not put a graphic on the joke.

A-roll
6:24KODAMA BJJ · ANGMERINGMONTH ONE · £600 IN120 LEADS · £4 EACH
30 SIX WEEK TRIALS · 6x

Kodama. Quick block, one card, move on.

He says he trains there himself, so use footage with real members on the mat, not an empty gym.

Evidence
6:41VISION SAUNAS · WORTHING£350 OF ADS£25,000 JOB · £120,000 PIPELINE

Vision Saunas. Seb, Worthing. All three figures confirmed safe to state.

Second card follows for the £120,000 pipeline. Take the numbers from the read, not the script, the script has an older ad spend figure.

Evidence
7:08ACG BUILDERSJUDGE FLOORINGKODAMA BJJVISION SAUNASGO AND ASK THEM
YOURSELF

“Go and message any of the guys on screen right now.”

All four names up together, held four full seconds. It is the only moment he invites them to check, so do not rush it.

Graphic
06 The Enquiry Hunter 7:21 to 7:58 37s

The hinge of the film. Everything before is problem, everything after is system. It gets the biggest graphic moment.

7:24THE ENQUIRY HUNTERHOLD 3 SECONDSMUSIC LIFT

The reveal. Biggest graphic moment before the close.

Hold three seconds. This is the one place to use the Begum italic accent, once in the whole film.

Graphic
7:29A FUNNEL ENDS

Draw the funnel, fill it, watch it drain and stop dead.

Do not skip this. The flywheel means nothing unless the funnel visibly fails first.

Graphic
7:40A FLYWHEEL NEVER STOPS

The same line bends into a closed ring and starts turning.

Cold and engineered, closer to a machine diagram than a marketing wheel. A low drive under it, not a chime.

Graphic
7:50CAPTURENURTURESTRIKERELOAD

Four stage names appear round the ring. Names only, no explanation.

Build this once and never rebuild it. It comes back six more times and it has to be identical every time.

Graphic
07 What you are probably thinking 7:58 to 8:57 59s

Three objections, three answers, straight to lens. The one place he is answering the viewer rather than talking at them.

8:00B

“I can already hear what you might be thinking.”

Set the structure here so the viewer knows their objection is coming. Three beats, same treatment each time.

A-roll
8:07I’ve tried ads and they didn’t work

Objection one types on like a message coming in.

“Course they didn’t” is the answer, so cut to his face on that exact word and knock the text away.

Graphic
8:20BYOUR INPUTS.
NOT A SYSTEM.

Objection two. He answers it with the sharpest line in the film.

“Your business runs on your inputs, not a system.” Worth putting on screen. Nothing else in this answer is.

A-rollGraphic
8:37CMUSIC OUT

“I fucking hear you on that one.”

The real swear in the film, at 8:35. Drop the bed and let it sit dry. He is admitting he got burned, and that admission is the answer.

A-roll
8:47CUT AWAY TO
TEAM ON CLIENT SITE

“My team and myself are local, we work with you in person.”

Cut to the team on a real client site. Prove it in the same second he claims it.

Evidence
08 Stage 1 · Lead Capture 8:57 to 9:44 47s

First stage, so it sets the template for the other three. Whatever you build here you repeat three times.

8:59STAGE 01LEAD CAPTURELocal ads that get you seen

Chapter card. Build one and duplicate it four times.

Identical position, identical timing, identical hold. Consistency is what makes four scenes feel like one system.

Graphic
9:06B

Wheel returns small, camera right, only quadrant one lit.

Same corner every stage. The viewer should always know where they are without being told.

Graphic
9:18
WRONG
RIGHT

Half the country against a tight local radius.

“Most people run these ads completely wrong” has to be shown, not described. Two maps, one frame.

EvidenceNeeds Lloyd
9:30RESULTS · COST PER LEAD

Real Ads Manager. Crop tight on results and cost per lead.

Then the lead form with the qualifying questions boxed. That detail is what separates us from a boosted post.

EvidenceNeeds Lloyd
09 Stage 2 · Nurture Protocol 9:44 to 10:56 72s

The longest stage at 1:12 and the one closest to what we actually sell. The showreel lives here.

9:46STAGE 02NURTURE PROTOCOLContent that turns attention into trust

Chapter card two.

Longest stage in the film at 1 minute 12, and the closest to what we actually sell.

Graphic
9:57
AUTHORITY
SOCIAL PROOF
VALUE
PERSONALITY

Four pillars, each lighting up on its own word.

Then pay each one off with a real example of that pillar from a real client. Four pillars, four clips.

Graphic
10:16B

“With AI everywhere, everyone wants to see if you’re legit.”

If you can hold something obviously generated next to real client footage here, the point makes itself.

A-roll
10:27MONTAGE · 1s EACH
SCRIPT · FILM · EDIT · ADS · SYSTEMS · POST

“We handle everything” is a list, so cut it as a list.

Scripting, filming, editing, ads, systems, posting. One second each, six shots, then back to him.

Evidence
10:46
BEFORE
AFTER

Profile scroll under the account optimisation line.

Slow and steady, no thumb flying about. Before and after if the old grid still exists, one clean after if not.

EvidenceNeeds Lloyd
10 Stage 3 · Strike Operation 10:56 to 11:26 30s

Only 30 seconds, less than half of Stage 2. It is the thinnest part of the film and it needs the strongest visual to carry its weight.

10:58STAGE 03STRIKE OPERATIONTurning attention into sales

Chapter card three.

30 seconds long, less than half of Stage 2. Everything after this card is one unbroken chain with no cutaways.

Graphic
11:08
NEW LEAD
CONTACTED
BOOKED
WON

Real pipeline, cropped tight. Card appears the second the form is sent.

Do not name the software. Crop it so it reads as your system, not a product demo.

EvidenceNeeds Lloyd
11:18
PIPELINE
THEIR PHONEThanks for enquiring. When are you free for a quick call?

Pipeline and phone in one frame, so cause and effect are visible at once.

One notification sound as the text lands, and it is the only notification sound in the whole film.

EvidenceGraphic
11 Stage 4 · Results Reload 11:26 to 12:04 38s

Closes the loop set up seven minutes earlier. Last time the wheel appears.

11:43STAGE 04RESULTS RELOADEvery client becomes your next ad

Chapter card four, then real testimonial footage from the archive.

He is describing exactly what we film, so show what we film. Three or four faces, two seconds each.

Graphic
11:55TESTIMONIAL FEEDS BACK INTO NURTURE

“Collecting ammo and refilling your clip.” Close the loop on screen.

Show a testimonial physically travelling back round the wheel into Stage 2. This is the payoff for an argument set up seven minutes earlier.

Graphic
12:02EVERY CLIENT BECOMES
YOUR NEXT ADSPEED UP

“Every client becomes your next ad.” Wheel spins up, then it is gone for good.

Most quotable line in the film. Emphasis treatment, then cut clean. Never show the wheel again after this.

Graphic
12 Content alone is not enough 12:04 to 12:26 22s

22 seconds. One idea. Do not build it into more than it is.

12:06412,000VIEWS0 ENQUIRIES

View count races up, then stops dead as the enquiry number appears.

A rising sound that cuts out. Do it once and never repeat the gag anywhere else in the film.

Graphic
12:201,400LOCAL PEOPLE9 REAL JOBS

Flip it. Small local number, real jobs, same layout.

Identical composition so the comparison reads instantly. Emphasis on “worth fifty times more”.

Graphic
13 The penalty 12:26 to 13:09 43s

The uncomfortable scene. Almost no graphics, no music, tightest framing. Discomfort needs stillness.

12:28CMUSIC OUT · STAYS OUT

Music out on the first line and it does not come back in this scene.

Tightest framing in the film. Longest holds. Barely any cutting. Room tone only.

A-roll
12:44C

“Handing over potential work straight to someone else.”

Only cutaway worth using here is somebody else’s content running. Never our clients.

A-roll
12:54THEY’RE GONEONLY CARD IN THE SCENE

“They’re gone.” One card, and it is the only graphic in the scene.

Then straight back to his face for the closing question. Try it with no music at all, silent is stronger.

Graphic
14 Who this is for 13:09 to 13:31 22s

22 seconds of disqualification. Plain and honest or it reads as a technique.

13:11NOT FOR YOUHAPPY COASTING ON REFERRALSWAITING FOR THE PHONE TO RINGNONE OF THIS LANDED

Who it is not for, listed plainly and bluntly.

Disqualification only works if it feels genuine. If a visual makes it look like a technique, drop the visual.

Graphic
13:23CUT AWAY TO
BUSY SITES · GROWING BUSINESSESFOR YOUMUSIC RETURNS

“But if this has landed.” Music returns quietly.

First momentum footage since the penalty. The film starts lifting from here all the way to the end.

Evidence
15 What now 13:31 to 15:03 92s

90 seconds to close. Warmest framing, biggest music, longest holds on the end card.

13:38BLOSING TO
MORE VISIBLE

“You’re not losing to better businesses. You’re losing to more visible ones.”

The thesis of the whole film restated. Give it text and give it the warmest framing you have.

A-rollGraphic
13:48FREE GROWTH AUDIT45 MINUTES · ONE TO ONE WITH LLOYD

The offer card, held while he explains what the call is.

No countdown, no spots remaining, no scarcity. Those live on the page so they can change without a reshoot.

Graphic
14:18BRING YOUR NUMBERSBRING WHOEVER ELSE DECIDESBE SOMEWHERE YOU CAN THINK

Call prep is practical, so treat it practically. Ticks as he says each one.

Plain and useful. No animation flourish on this one, it is housekeeping and it should look like housekeeping.

Graphic
14:35
OPTION AKEEP HOPINGSAME YEAR AGAIN
OPTION B45 MINUTESWALK AWAY WITH A PLAN
MUSIC PEAK

“So you’ve got two options.” The one place a split screen properly earns its place.

Biggest music lift of the film sits under this and runs straight into the CTA.

Graphic
14:48ENGAGEHE SAYS IT TWICE · SHOW IT TWICE

He says ENGAGE out loud at 14:47. Full frame, longest hold in the film.

He says it twice, once for the DM and once for the booking form field. Put it up both times.

Graphic
14:59DM ENGAGE
@huntvisualsukOR BOOK ON THE LINK BELOW

End card holds through the salute and the last seconds of black.

Build two versions. YouTube gets the handle and subscribe, the booking page gets a clean one with no link.

GraphicNeeds Lloyd

Then the shorts

Same shoot produces 22. The full list with hooks and CTAs is in the Notion script under SHORTS MAP.

They are not new edits

Each short is an alt hook take dropped on top of a scene you have already cut. The body is the master cut, reframed. You are topping and tailing, not rebuilding.

9:16 is free here

A 3840 wide source cropped to a 1080x1920 vertical still leaves you 2160 pixels of width to slide around in. Reframe per shot rather than one static crop for the whole clip.

Full captions on shorts only

Europa Grotesque SH Medium, one or two words a line, timed tight. The master does not get them, the shorts always do.

Master first, always

Approved master, then shorts. Never in parallel. One revision to a scene means rebuilding every short cut from it.

Best five to cut first. The four client blocks in Scene 05, and the objection at 8:35 where he admits he wasted five figures on agencies that did nothing. That one is the most human thing in the film and it will outperform anything scripted.

Thumbnail

Not the video title. Three or four words, huge, readable at phone size. Real frames below, so these are close to what you would actually ship.

THE BEST DOESN’T WIN

Option 1

The thesis of the film, and it opens a gap the viewer wants closed. Strongest for a warm audience.

£300
£40,000

Option 2

Pure proof, no interpretation needed. Strongest for cold traffic. Numbers are Judge Flooring, week one.

WORSE THAN YOU.
BUSIER THAN YOU.

Option 3

Two short lines straight at the emotional trigger. Needs an expression that matches, so pick the frame carefully.

NOBODY KNOWS YOU EXIST

Option 4

Blunt. Works because the penalty frames are the least sold looking in the film.

Treatment. Text camera right, same as the film. Do not flip him or add a shocked face. Black ground, blue accent, New Hero Super. The film argues against looking like everyone else, so the thumbnail cannot look like every other business coaching thumbnail.

Open calls

One of these got answered by the shoot itself. Three are still live.

The one real structural note. Stage 3 runs 30 seconds against Stage 2’s 1:12, and it is the stage that proves we are more than a video company. If it still feels light once it is cut, the fix is a pick up line filmed later, not a graphic covering the gap. Flag it rather than papering over it.