Real people,

at volume

in as many markets as the UGC brief needs.

What a UGC brief actually asks for

Forty pieces in nine markets is a different job from one hero film. Different casting, different economics. The partners built for that shape exist, and knowing which one fits which brief is the part that takes twenty-three years.

We connect brands and agencies with the partners built for exactly this: casting real people where they actually live, directing them remotely, and handing back volume rather than one hero film. Free to brands and agencies.

What it
looks like

Three briefs that arrived without an obvious answer, and what each one turned into.

Motorola

Twelve two-minute films in twelve countries, one per market. Around $150,000, all twelve markets kept, and nobody on a plane.

Nature Valley

Forty-five creators, sourced and directed remotely, for a single campaign. Every one of them filmed where they actually live.

PSEG

Real small businesses on Long Island, filmed in their own premises across many vignettes, showing what happens when the lights stay on. Real customers, not cast actors.

Four benches, and they are not interchangeable

Which one you want depends on whether the brief needs reach, your own customers, craft, or the feed. We name the right one on the call, before anyone sees a treatment.

A production company and a casting company merged into one platform. Casts real people and real stories globally and directs them remotely. They shot the first remotely directed film for YouTube roughly fifteen years ago, and they routinely over-deliver against the brief.

The only one here that turns your own customers into the crew. Rolla builds an app per client, so a brand can invite the community it already has to shoot for it. Not influencers, not actors, the actual people on your list.

Journalism-trained, everywhere at once

Founded by photojournalists who set up the New York Times studio and worked with the Washington Post. Ten-person crews, and a network of 22,000 photographers, directors and creators worldwide. They shot 83 cities simultaneously during the World Cup. Capital One, Booking.com and OpenTable use them for the volume work.

Vertical-native and serialised

Creator-led and built for serialised social, microdrama and always-on brand work. Screen Time, Issa Rae's first micro-drama, took 75M views in week one and was the number one series on the platform. Roomies for Bilt ran nine episodes with zero brand mentions, 3.6M likes and two Webby wins.

The crew
you already
have

Rolla is the one people do not expect, so it is worth explaining properly. It is software, built as an app per client, and the people shooting for you are your own customers, subscribers, members or fans.

You pick who gets invited. You write the shotlist, so they know exactly what to capture rather than guessing. You attach a reward. They scan a code, off a receipt, a product label, a menu, a jumbotron, and start filming. Everything lands in one dashboard, tagged and organised and ready to edit.

If you are a sports league, that is fans filming the walk to the stadium, the jersey reveal, the view from their seats, the reaction after the whistle. If you sell a product, it is genuine reviews and unboxings from people who actually bought it.

Brooklyn Nets

Fans activated to capture gameday moments showing team pride, earning rewards for taking part. Commute, pregame, the view from the seats, postgame reaction.

Heavys

96 clips captured in five days, for a 20% off incentive. Twelve finished branded videos out the other end.

A school supply contest

483 clips in seven days, for a $100 gift card. 102 branded videos produced from real teachers.

What it
costs

The same brief, priced by three different partners, routinely comes back a factor of five apart. Not because anyone is overcharging, but because a studio built for one hero film and a platform built for forty pieces are solving different problems with the same words.

Working out which shape the brief actually is, before anyone quotes, is the part we do. It costs you nothing and it is usually worth more than the negotiation that follows.

The three people ask first

Is UGC the same as influencer marketing?

No. Influencer marketing buys someone's audience. UGC production makes content with real people and the brand owns it and runs it wherever it wants. Different budget line, different rights, different job.

How many markets can you actually cover?

Twelve countries on the Motorola job, 83 cities simultaneously on the World Cup work, and a creator network of 22,000 worldwide. The constraint is usually the timeline, not the map.

What does Momentum charge?

Nothing. We are funded by the partners we represent, which is why brands and agencies pay us nothing for the introduction or the work of finding the right fit.

Send us the UGC brief

Tell us how many pieces, how many markets, and what you have to spend. Fifteen minutes on Zoom is usually enough to know whether we have the answer.