Chambers Bay
Proposal + Brief
Produced by Hot Juice Studios
Proposal + Brief · The Next Stop
Produced by Hot Juice Studios
middot; August 9–10, 2026Produced by Hot Juice Studios
Produced by Hot Juice Studios
Chambers Bay is not Conway Farms. It's treeless, it sits on the water, the wind decides the day, and it looks like nowhere else on the schedule.
Chicago should feel like a block party. This should feel like a western.
And this is the first stop we shoot as a story rather than as coverage. Conway proved we can cover an event beautifully in real time, and we'll do that again here. Chambers Bay is where we prove the other thing: a long-form piece people actually choose to watch, with the short cuts living off it all month.
02 // the moodTreeless, exposed, sitting on the water with freight running the shoreline. There is nowhere else on the schedule that looks like this. Here's the feed it produces.
The whole stop lives in a juxtaposition. On one side, downtown Tacoma. Skating, music, the shop, the party, the art on the walls, an energy that's fast and loud and completely urban.
On the other, this. It looks like somebody rolled a golf course out beside the most beautiful lake you've ever seen. Freight running the shoreline, the Sound going flat at sunset, players small against all of it.
Neither one is the story on its own. The distance between them is the story, and it happens to be the exact distance Malbon has always played in, between street culture and the game.
Chicago was a block party from start to finish. Chambers Bay gets to be both, and that contrast is what makes this stop worth filming properly rather than just covering.
Commercially, a narrative gives partners real, earned placement instead of a logo on a graphic. That's worth more to them and it's worth more to you.
And it gives the season a plot. The championship chase already has one built in: the qualification watch, the bubble, who's safe and who's chasing. Right now nobody is telling it. We start here, and by the finale the audience knows who they're rooting for.
We collect Chambers Bay footage and archive, develop real scripting ahead of time, and shoot the lead-up rather than landing cold. Washington stories. Local legends. The Pacific Northwest golf and streetwear scene nobody has invited in yet.
The shot list gets built with Nick, Jimmy, and your team once we know what matters most to you. Then we bring our creative point of view to it. That happens before anyone books a flight.
We have roughly three weeks before the event, and that's the window that decides whether people arrive already invested or find out about it afterwards.
| Week one | Connect with Chambers Bay directly. Get their archive, their aerials, their history material, and the relationships that let us shoot the place properly. Same conversation with Umi and the Tacoma side. |
| Week two | Cut the promo sequence. Existing Malbon footage against Chambers Bay plates, storylines from the stops so far, the championship chase. Built as a run of pieces rather than one post. |
| Week three | Hand it to your social team with deployment briefs. Platform, account, caption direction, and posting window on every asset, so the drumbeat starts before anyone travels. |
| Event week | The Welcome To Tacoma piece runs, then day-of coverage lands into an audience that already knows where they are. |
Chambers Bay has a real history and it deserves a chapter, not a mention. A US Open on reclaimed industrial land, links golf built where a gravel mine used to be, a course that divides opinion the way the great ones do.
That becomes a dedicated segment inside the long-form film, and cuts down into its own standalone piece. It's the sort of thing golf audiences actually watch twice, and it gives the stop a weight that a recap never earns.
| Producer / Director | Marcus Murphy — on site both days, running the shoot |
| Director of Photography | Justin Soto — primary camera, both days |
| Second Shooter | Marco — second camera, aerials |
| Lead Editor | Joe Huynh — on site, cutting live. Same-day deliveries never leave the building. |
| Cup Central Shooter | Seattle local — dedicated camera on the correspondent, all day |
| Production Assistant | Local hire — logistics, cards, carts, gear movement |
The same crew your members met in Chicago. Nothing gets re-learned on site, and by the second stop people greet them by name.
The editor travels with us, and that's the difference. In Chicago the cutting happened remotely overnight. Here Joe is on the ground, which is what makes a same-day delivery schedule this tight actually hold.
| Location days | 2 × 10-hour days |
| Travel crew | Four — Producer/Director, DP, second shooter, lead editor |
| Local hire | Production assistant, event day |
| Cameras | Three bodies + long zoom, drone, sound kit, including a dedicated Cup Central camera |
| Same-day assets | 6–7 event deliverables on a clock we set, plus the master recap |
| Long-form | One film, plus 10–20 short cuts off it |
| Partner | Dedicated Stanley pieces, plus Stanley carried through the lead-up |
| Lead-up | Build-up content in the weeks before the stop |
| Delivery | Weblinks, every asset with a deployment brief |
| Archive | Everything tagged into the repository, re-cuttable all year |
Chicago was 2 × 10-hour days, two cameras, four on site, seven edited videos plus content dumps, at $17,779. Chambers Bay holds that same shoot spec and adds pre-production, lead-up content, the Stanley pieces, an editor on the ground instead of remote, and the long-form film.
Tony Hawk's son is playing. So are skaters and snowboarders, alongside past champions still competing, female golfers, and the Buckets Club ams.
That is not a golf tournament. That is a room nobody else in this category could assemble, and it is exactly the story Malbon has been telling since the beginning: golf belongs to more people than golf has historically allowed.
Board culture and golf culture standing on the same tee at a links course on the Puget Sound. We'd build the long-form film around that, and every partner benefits from being inside a piece people actually want to watch.
04 // cup centralEvery stop generates more moments than any single camera can catch, and the thing that has been missing is a spine. Somebody out on the course, in it, pulling reactions while they're still hot. That's Cup Central.
Hot Juice produces it, directs it, and shoots it. Malbon sources the host and we build the format around whoever you land on. A dedicated camera stays with them all day, which means the correspondent never waits for a crew to come free and never misses the moment because the main unit was on the 14th tee.
It runs live to the course, not from a booth. Pulling players off the green after a big swing. Catching the Buckets Club ams before their wave goes out. The skaters and snowboarders reacting to links golf for the first time. Past champions on what the chase feels like from the inside. Short, fast, real, and shot in the same cinematic language as the rest of the day so it cuts straight into the film.
Two things it does that coverage cannot. It gives the championship narrative a voice, so the qualification watch and the bubble get told as they happen rather than in a graphic afterwards. And it gives every partner a natural place to live, because a correspondent can pick up a bottle, walk into the shop, or throw to a segment without any of it feeling like an ad.
And it's a franchise. Same host, same format, same look at every stop. By the finale the audience knows the desk, knows the voice, and knows who they're rooting for. That's the difference between a season of recaps and a season with a plot.
| The build | Format, questions, and beats locked with Nick and Jimmy before anyone travels |
| The crew | One dedicated shooter, all day, so the host is never waiting on a camera |
| Same-day | Fast cuts pulled off the desk and out on the clock with the rest of the day |
| Off the film | Cup Central threads through the long-form piece as the connective tissue |
| Every stop | Ownable, repeatable, and recognisable by the third stop |
Every travelling event carries the same risk. It lands, it shoots, it leaves, and the city it happened in is interchangeable. You could hold these events at any golf course in the world. Chambers Bay is special, and so is Tacoma. When two things are that specific, you need a specific person to make people feel why.
That person is Umi Wagoner. He came home to Tacoma after working at The Hundreds in LA and, in 2014, opened eTc Tacoma with his partner Perris Wright, a friendship that started in ninth grade. What began as a streetwear boutique became the thing every real scene needs: a community hub. On any given day the storefront is an art gallery, an open mic, a listening party, a pop-up for someone else's brand. Their in-house label, eTceTera, built a cult following on limited drops and deep regional pride, and they've become the engine of a homegrown Seattle-Tacoma streetwear renaissance.
Umi's Corner is exactly what it sounds like. Umi putting his friends and their brands on, making sure Tacoma is seen and stays ahead. He's a friend of ours, and he's collaborating with us on the pre-day community event. Which is precisely why he should be our guide here, not just a subject.
Here's how we'd shoot it. We get there around 3:00, find the spot to film Umi last, and meet him around 3:30. The Malbon team sets up the shop around 4:00, and 5:00 to 7:00 is the party with everybody. We do the interview and the voiceover with Umi around four, then walk with him a bit down the street and through the park for texture on his city. Loose, handheld, real, the city moving past the window: Tacoma, the local scene, retail, fashion, golf, and how it all comes together in one place.
Not a documentary. A voice. Umi's perspective laid under the footage as the thread that carries the Tacoma and Chambers Bay story, from the shop to the first tee. We lead him toward the language that matters, why he came home to put Tacoma on, why it's such a big deal for his community to have a brand like Malbon come to their front doorstep. Hearing that from the person who built the culture here is worth more than any narration we could write.
And skating lives inside it. Across the street from Umi is a skate shop called Method, and a guy there named Aaron that Jimmy knows from his skating days. Aaron bombs the big 9th Street hill all the time. Jimmy's bringing a board too. It's not a cutaway, it's the same culture, the crossover we're filming on the course already true in this town.
It runs before the tournament, so by the time the event arrives the audience already knows where they are and why it matters. Then the day-of coverage lands into a story people are already inside.
Open wide at the top of the 9th Street hill, looking down into the bay, the same hill Umi's shop sits on. The big Tacoma typography comes over it, then clears. A rider, Aaron in Malbon gear, tips slowly over the crest. Umi's voice starts, low, talking about why he came here and why bringing a brand like this matters. The music builds. He bombs the hill, and we follow with the drone, sound layered in, speeding up as he goes.
Fireman's Park and the 11th Street Bridge are right there, and on a clear day you catch Mount Rainier. Those plates carry the opening Tacoma sequence under Umi's voiceover. Then we cut to the store, the people coming in, the energy, our sponsors woven in where they fit. Why Tacoma.
From there it recaps the pre-day: the skating, the camaraderie, quick sound bites from people about how excited they are for Chambers Bay tomorrow, who they think wins, what they're shooting. Real voices that build the story. Dope music, fast cuts, high energy. Then it hits a pause, a blank beat, and drops into the aerials of Chambers Bay. Game day. That's the handoff from the urban gear into the cinematic one.
Built from today's call with Umi. The route and the beats sharpen as we lock the pre-day event together.
This stop runs at two speeds, and the contrast is the point.
Loud, fast, urban. Skating, music, quick cuts, the drive around, the walk and talk, the party at the shop, the art on the walls. Grain and energy. This is Tacoma introducing itself, and it's where Umi lives.
Wide, quiet, cinematic. Links land, weather, the Sound, the freight line, the golf shot properly. Space and patience where the pre-day had none.
The Umi piece is what stitches them together. Laid under the b-roll, his voice carries from the skate park to the first tee, so by the time the tournament starts the audience already understands what makes Tacoma Tacoma, and why it matters that Buckets came here.
| Next step | Jimmy is introducing us to Umi. We get on a call before we travel and build the route and the beats with him rather than showing up with a shot list. |
| Why it works | A crowd shows up because it's theirs, not because it was advertised at them. That's the difference between an audience and a community. |
| What it feeds | The lead-up, the long-form film, and a standalone piece ETC and Umi can run on their own channels. Everybody wins from it. |
Straight from our call with Elizabeth on their team, this is how Stanley thinks about their whole world, and it maps perfectly onto a day of golf. Caffeinate is the morning, coffee and tea before the round. Hydrate is the performance middle, staying locked in through the day. Celebrate is the finish, the toast, the crowning, the moment. We shoot the day along that exact arc, so their products show up the way they actually live in a person's day rather than as placements.
Stanley is the anchor partner, so it shouldn't be a logo we place in the frame. It should be a character we follow. The Stanley logo lives in the background of everything, and the hero product moves with the story: the Tempo bottle, lock lid, no straw, the chug bottle built for people on the go. That's the one they most want to highlight for athletes in motion, and we capture it from real hands, real angles, mid-round.
It gets picked up and set down beside a putt. Carried to the tee in the crook of an arm. Rattling in the cart on the way to the next hole. Hanging off a bag, riding with the caddy, passed from one hand to the next. You end up following the bottle around the course the way you'd follow a person, and by the end you actually care where it's going. Beau's idea: a small rig on the bottle to really show how people use it, drink it, and move with it, different perspectives throughout.
Then it opens up into the whole world of product. The Wellspring bottles that clip onto bags, on the caddies and a handful of players. The lunch pails. A picnic laid out on the green. Stanley living naturally in the moments people already love about a day of golf, shot as texture and craft, not as a catalog. Any other products they bring, we make sure they get real coverage.
Celebrate, the end of the day. When they crown the winner, there are custom pint glasses with the Buckets Cup logo, and an engraver on site so people can engrave whatever they want. We capture that entire process, the hands, the tooling, the object being made, as its own cut. That's the highest-save content of the day. And the JBL speaker is there for the moment too.
And the voices. Their president Matt isn't travelling. Kristen is coming instead, with the executive team, playing the Stanley four-ball, and honestly this is the better story. She caddied before she got into the business. She's a golf sicko. She already talks about the game the way Malbon does, unprompted.
We'd love to get Kristen up to say a few words when they crown the winner, and we pull that sound bite for the recap. Elizabeth gave us the language already, golf is for everyone, a level playing field and a common ground, which is Malbon's whole ethos. Hearing that from someone who has been on both sides of the bag is worth more than any narration we could write.
And it opens a throughline nobody on this tour has touched. Women's golf, told through a woman who came up carrying somebody else's bag and now leads the anchor partner. That isn't a segment we bolt on, it's the spine of the standalone Stanley piece, and it plays as their story in their words, not an ad read. We also grab real VO from the rest of the team: why they love golf, why they care, what they make of Chambers Bay, what the Malbon relationship means to them.
Separate from the commercial, a recurring branded segment that runs at every stop. A clean two-chair setup: backdrop, mics, a locked-off camera, and a host who pulls players and guests in for something short and fun. A quick, funny question about golf, a hot take, a quickfire round, whatever plays.
The format does the work. It's titled, it's consistent, and it opens with "this one's brought to you by our partners at Stanley," with a little Stanley cup living in the corner of the frame the whole way through. Real integration that people actually enjoy watching, not a logo bug slapped on a recap.
And it's a franchise. Same set, same format, every stop on the tour, which means Stanley (or any partner) gets a repeatable, ownable piece of content that builds recognition week after week rather than a one-time placement. This is a format we'd build to run all season.
| The hero cut | Follow-the-bottle day-in-the-life, built for Stanley's channels and Malbon's |
| The Segment | Branded two-chair interview series, "brought to you by Stanley," repeatable every stop |
| Product world | Caddy bottle, lunch pails, the picnic-on-the-green, all the SKUs living in real moments |
| The engraving film | The craft piece, its own standalone cut |
| Caffeinate/hydrate/celebrate | The day shot along Stanley's own product arc, morning to the winner's toast |
| The Tempo bottle | Lock-lid chug bottle, the hero product, captured mid-round from real angles |
| Celebrate moment | Custom Buckets Cup pint glasses, live engraving, JBL, the crowning |
| Kristen’s VO | Kristen and the four-ball on golf as common ground, caddying, Chambers Bay, the Malbon relationship |
| In the lead-up | Stanley threaded through the build-up so the partnership runs the full arc, not one day |
The branded-segment format isn't Stanley-only. It's a template we can run for any partner at any stop, an ownable series instead of a one-time logo placement.
| adidas seeding | 12–15 players in product. Shot as drip and movement, not as a product parade. Athlete list to come. |
| LAB Golf | Group coverage plus the equipment craft angle, which cuts well standalone. |
| Srixon | Group coverage, same treatment as Conway. |
| Chambers course history | Its own piece. Conway's history cut performed, and Chambers has more to work with: links land, the Sound, a US Open behind it. |
| Gift bag | What's inside, shot as a flat-lay and an unboxing. Consistently the highest-save asset at every stop. |
| Drip check | Fits, fast, recurring. A format that can run at every stop and become a franchise of its own. |
| Pro highlights | Past winners still competing. Real stakes, and the beginning of the championship narrative. |
| Buckets Club ams | The community layer. The reason anyone watches. |
| Female golfers | Coverage that feeds Malbon Women as well as the Cup, so one shoot serves two properties. |
| Skaters + snowboarders | Including Tony Hawk's son. The crossover, and the spine of the long-form film. |
Nick's read was right: there is no shortage of content here. The job is deciding what earns a dedicated cut, what feeds the film, and what feeds the feed. That's what the pre-production block below pays for.
| WEEKS OUT | Lead-up. Standings and storylines from prior stops cut against Chambers Bay plates. Local voices. People arrive already invested. |
| DAY 1 PM | Land, load out, staging. Pre-pro and comms lock with the Malbon team. City and course B-roll unit rolls. |
| DAY 1 PM | Community activation coverage · cards to editor · edit night |
| DAY 2 7:00A | Crew call. Carts assigned. Aerials and course-history unit first light. |
| 8:00A | Players arrive. Camera 1 on players, camera 2 on the build. |
| 9:00A | DELIVER: "We're at Chambers Bay" |
| MIDDAY | Tee waves · mic'd group · sponsor coverage |
| 2:00P | DELIVER: sponsor cuts |
| 3:00P | DELIVER: morning cut |
| 5–7:00P | Awards and winner coverage · on-course cut delivers end of day |
| DAY 3 | DELIVER: master recap sizzle |
| WEEK OF | DELIVER: the long-form film, and the short cuts that live off it |
| Same-day, on the clock | Arrival post, sponsor cuts, morning cut, on-course cut. The Chicago cadence, which held. |
| Day 3 | Master recap sizzle |
| Week of | The long-form film — the piece the whole stop hangs from |
| Off the film | 10 to 20 short cuts, so one shoot feeds a month of feed and every cut points back to the film |
| Lead-up | Build-up content in the weeks before, so the event arrives with an audience |
| Every asset ships with | A deployment brief: platform, account, caption direction, and posting window |
| Archive | Everything tagged into the repository, findable, and re-cuttable all year |
The earlier number carried a small buffer for what we understood to be an hour or two peeling off for a retail or drop shoot. After the call with Erik and a follow-up with Stephen Buchanan, the scope is clearer and bigger. Hot Juice produces, directs, and shoots Cup Central, the on-course correspondence, and that is a full day of dedicated camera rather than an hour of pickup coverage. We’ve added one Seattle local shooter at $1,100 flat. Local hire, so no added airfare, lodging, or travel days. Every other line is unchanged.
| Section | Detail | Amount |
|---|---|---|
| A · Pre-pro + wrap labor | Producer/EP + DP + second camera travel, production assistant | $1,100 |
| B · Shooting labor | Producer/EP 2 days, DP pre-day Aug 9, second cam + drone, both shooters event day Aug 10, dedicated Cup Central shooter, payroll fringe | $7,862.50 |
| D · Location + travel | Air fares (EP/CD + 2 videographers), baggage, breakfast, Airbnb 2 nights, ground, crew dinner | $4,692 |
| O · Post-production labor | Editor, fast-turnaround social cuts on site + long-form leave-behind pieces | $3,000 |
| P · Editorial + finishing | Music library license | $75 |
| Subtotal | $16,729.50 | |
| Insurance, 3% | $501.89 | |
| Production + payroll handling, 5% (standard 20%) | $836.48 | |
| Total, all in | $18,067.86 | |
NET 30 from invoice date.
Drone operation subject to course clearance, confirmed in advance of travel.
Music licensing quoted separately once tracks are confirmed and cleared for commercial use.
Overtime beyond the scheduled window billed at standard rates, agreed in advance.
All raw footage archived into the Malbon repository and available on request.
Approval of this document constitutes approval to proceed.
NET 30 from invoice date. Checking the box below approves $18,067.86 and lets us lock crew and travel now, at these rates. We'll follow up with the agreement.