Walmart Shareholders 2025
Baltimore Walmart Store Story
A documentary short about what one store meant to its neighbourhood. The closest reference for the honest, unforced tone proposed here.
Directed by Mark Matthews · Cinematography by Justin HoweAspen & Arlo · Connected TV :30 + :15
Something for everyone
on your list.
Ten thousand designs is a hard thing to put on a screen. So this film is not about how many there are. It is about getting every person on the list right.
Want
The right paper is searched for with the same care as the gift—one name, one personality and one unmistakably right choice.The film · 30 seconds
Want. Origin. Craft. Care. Payoff.
The reaction lands on the paper, not on what is inside. That distinction is the whole idea—and the thing we protect in the edit.
0–5s
The search
The film begins in the quiet concentration of finding exactly the right thing.
What we see
Warm interior, evening. A handwritten gift list sits beside the laptop as patterns move across the screen and reflect in her eyes. She pauses on one that feels unmistakably right. Cursor. Click.
Why it matters
We establish that the choice of paper is personal—not decoration added at the end. The hardest person on the list becomes the reason to keep looking beyond “close enough.”
Choose a beat to move through the spot.
Why Lowell matters
The breadth is possible because each design is printed to order.
The print floor is not a detour. It turns “10,000+ designs” from a catalogue claim into a real, defensible origin story. Reams, ink and rollers give the film scale before we come back to one thoughtfully chosen gift.
10,000+designs without trying to show 10,000 things
Selected work
The people behind the picture.
Documentary instinct, commercial polish and product detail—shown in two credited bodies of work.
Connected TV
Huggies Sweepstakes
A CTV spot built to hold attention on a screen nobody chose to watch.
Directed by Mark Matthews · Cinematography by Justin HoweSam's Club Associate Story
Coach Ty
One person, one room, told without a script.
Directed by Mark Matthews · Cinematography by Justin HoweSam's Club Associate Story
Gary Butcher
A warm, specific portrait built around a real person rather than a performance.
Directed by Mark Matthews · Cinematography by Justin HoweSam's Club
Sam's Roses
A product-led film photographed across Ecuador and Mexico, rich with natural light, vivid colour and tactile floral detail.
Second Unit Cinematography by Mark MatthewsThe production
Small when it should be. Full when it needs to be.
Day 1 establishes where the paper comes from, captures the quiet Airbnb material and prepares the lighting. Day 2 uses that work to keep the full company focused on the gathering and its performances.
Full company + evening gathering
The finished Airbnb, five performers and every handoff that carries the emotional payoff.
With the house dressed, the lighting already established and both gaffers on set, Day 2 can stay focused on people. We photograph the final wrapping inserts, then move through the gathering, three or four distinct gift handoffs and the small moments of recognition that happen before anything is opened.
Reactions, not performances. Nobody speaks on camera, and the paper earns the smile.
Tap a role to see where it lives in the investment.
Director · Producer · Editor
Mark Matthews
Ten years producing across the Walmart and Sam’s Club ecosystem. Directs, edits, colours and delivers.Director of Photography
Justin Howe
Regional commercial DP. Sony VENICE package with NiSi Athena PL primes and full camera support.Gaffer
Caleb Hoenshell
Leads a two-person lighting team, with the three-ton truck and a consistent fixture package.Lighting support
Additional Gaffer
A second set of experienced hands for the Lowell move, Airbnb pre-light and full gathering day.Sourcing · Dressing · Returns
Set Stylist
Four days across prep, the shoot, strike and returns. The house becomes Christmas—and becomes a house again.13 people · 9 working days · 2 days on camera
What the number holds
Every line protects something you will see on screen.
Open any category for the practical reason it is there. The published total reflects section-rounded figures in the working estimate.
The investment
Two shoot days. Both spots. Every frame we shoot.
Start with the core production, then shape the package around the way your team actually works. Raw footage is always included at no added cost; the recommended library adds the editing and organization that makes those files immediately useful.
Core package$51,329
- Finished :30 and :15
- Two shoot days
- All raw footage · always included at no added cost
Your current package$53,308
Options can change. The core production stays protected.
Add
Reduce
Ready to share a direction?
Send the package you built.
Review the exact choices, add your details and send a nonbinding decision summary to Matthews Media.
Included
The useful parts do not disappear after launch.
Perpetual usage
The finished work and paid talent rights are yours to use without an expiration date.
Every aspect ratio
16:9, 9:16 and 1:1 masters for both the :30 and the separately shaped :15.
Raw footage · included
Every original camera file is included in the core package at no added cost, whether or not you choose the edited library.
Two revision rounds
Two consolidated revision rounds per deliverable are built into post.
Blocking & direction
The cast arrives ready for us to shape honest movement and recognition, not dialogue.
Clean delivery
Colour, sound, music, end card and a dedicated archive drive.
Recommended add-onEdited footage library · string-out
This does not buy access to your footage—you already receive every raw camera file. It pays for us to review the material, remove the unusable takes, colour match the selects and build clearly named 16:9 string-outs your team can browse, pull from and recut. Vertical and square versions can be added separately.
+$1,979Production windows
Choose the runway you want before Black Friday.
Window A is preferred. Each date assumes timely approvals, talent confirmation and location access.
Bid basis
A clear shape, with the real-world variables named.
- One Lowell manufacturing location and one residential location.
- One child performer with guardian and Arkansas work permit.
- Non-speaking cast; the story is carried by picture and voiceover.
- Two shoot days within the selected October production window.
- AVA’s four-hour talent minimum will be confirmed before contracting.
- Final lighting build follows the approved house and technical scout.
- Location savings apply if Benton Lane supplies the house.
- Unspent contingency is not billed.