Questions & Answers

Claymaker is a premium creative studio for stadium-scale visuals. The studio designs motion content for video boards, projection systems for arenas, and commercials and show opens. Every project is built for sports teams, venues, brands, and live audiences who need their visuals to move a room.

Most studios live in either film or live events. Claymaker lives at the intersection: stadium-scale instincts applied to commercials, plus cinematic polish brought to game day. That dual fluency carries the work across every screen and surface in a show, from a 200-foot video board down to a 30-second TV spot, in one consistent voice.

Working live game day teaches you how 60,000 people respond to a screen: what carries from 300 feet away, what reads in three seconds, what makes a crowd stand up. That instinct informs every Claymaker project. Even a single broadcast spot benefits from the pacing and visual discipline you only develop inside a stadium control room.

Professional sports teams (NFL, NBA, MLB), collegiate athletics programs, venues, live entertainment properties, agencies, and brands that need a stronger visual presence on large-format screens. Past clients include the New England Patriots, Jacksonville Jaguars, Miami Marlins, Florida Gators, Tulsa Golden Hurricane, University of Michigan, Bristol Motor Speedway, Farah & Farah, and more.

A connected visual system across every screen in a stadium: main video boards, ribbon boards, prompts, sponsor moments, player intros, and transition stings. Every element is designed as part of one cohesive show, with a role inside the larger live experience.

Floor-projected visuals that turn a basketball court or arena floor into a cinematic surface during pregame, halftime, and big moments. They are usually paired with center-hung LED content so the room reads as one synchronized show. Claymaker has built court projection systems for the Florida Gators (men's and women's) and Tulsa Golden Hurricane.

VFX-driven brand campaigns, broadcast-style show opens, music videos, and conference and event openers, all built with stadium-scale instincts. Recent work spans Farah & Farah Jaguars campaigns, Voctave music videos, Vac-Con dealer show openers, Dream Finders Homes broadcast spots, and the First Horizon Bank piece for Bristol Motor Speedway.

Yes. The stadium-scale approach applies to any moment that needs to land big. The studio has built brand films and show opens for industrial (Vac-Con), energy, civic tech (Urban SDK), maritime (JAXPORT), and entertainment (Voctave) clients alongside the sports work.

From a single 30-second spot to a full season of in-stadium content for a professional team. The studio is sized to keep one authored point of view across the full range. Every project, large or small, stays with the same core team from kickoff through delivery.

Concept lock-in early via a treatment doc plus visual references, then moodboards or animatics for alignment, then design and animation in parallel. Editorial, VFX, color, and finishing all happen in-house, which keeps feedback cycles tight and final delivery fast. One point of view from first idea to final frame.

Direct. Clients work with Clay and a tight production team. Briefs go straight to the people making the work, decisions happen in the room, revisions ship same-day where possible, and the path from kickoff to delivery stays clear and accountable.

Yes. Fast-track work is part of the studio's core capability: live event timelines demand it. The 2025 Farah & Farah Jaguars "Still" campaign was built on a tight schedule with CG, VFX, and broadcast finishing, and Jaguars game-week revisions routinely ship inside 24 hours.

Discovery and brand audit, motion language design, the primary asset library (player intros, transitions, replay stings, sponsor moments), ribbon board content, utility graphics, plus season-long on-call updates and fast-turn revisions for game weeks. The deliverable is a connected show.

Claymaker delivers final master files in the venue's required specs (resolution, codec, frame rate, color space) and supports on-site testing wherever the schedule allows. For projection work, the studio does on-site corner-pinning, mesh warping, and exposure tuning so the content reads correctly in the actual room.

The studio's director. Clay's professional career began inside Jacksonville Jaguars game day production in 2011, where he helped shape an entertainment-driven approach to in-stadium presentation around the 2014 EverBank Stadium renovation. He still supports the Jaguars in the control room on home game days, and that live-event perspective informs every project the studio takes on.

At Gillette Stadium, EverBank Stadium, Exactech Arena at the Stephen C. O'Connell Center, the Donald W. Reynolds Center, Michigan Stadium, Bristol Motor Speedway, LoanDepot Park, and beyond. Anywhere big screens and live audiences come together.

A toss-up between the multi-year Jacksonville Jaguars game day system (one of the largest outdoor video board installations in sports) and the 2022 Stadium LED Package for the New England Patriots.

Anywhere from a few weeks for a single commercial to several months for a full arena projection package or stadium motion system. Most engagements run 4 to 12 weeks. Timelines depend on scope and the live event calendar, and the studio is built to hit them.

Either project-based (scope-locked statement of work with milestone payments) or retainer for ongoing game-day and creative support. Both options are flexible. Sharing scope on the Contact page is the fastest way to get a proposal back.

Yes. The studio partners with agencies that need stadium-scale creative, VFX, or post capability beyond their in-house team. Credit-line and confidentiality terms are handled per engagement.

Visit the Contact page and fill out the project inquiry form. It captures project type, timeline, budget range, and the brief. Claymaker responds within a few business days with a tailored next step, usually a call to talk through scope and creative direction.