Twenty years making things people watch — and the last two building the AI behind them. I'm looking for one company to go all-in on. Here's what you'd be getting.
Senior enough to lead it. Hands-on enough to make it.
★ Field Log · Mission: Tomorrow
My short intro film — who I am, how I think, and why I do this. Grab a drink, four minutes, sound on.
★ Good ideas · great stories
I made a video about it. Two minutes, straight to camera, no slides — me telling a hiring or marketing lead exactly why I'm worth a shot.
▶ Press play — "Why You Won't Hire Me"
Two jobs in one person. I make the content that moves your numbers — and I build the AI-powered systems that run it. Twenty years taught me what makes work land; the last two I've spent obsessed with turning that judgment into tools and agents that actually run. Here's the shape of it.
Brand, story, and a content engine that moves real numbers — concept to final cut. I run the work, I don't just advise on it. Video's where I cut my teeth; the judgment travels anywhere a company needs to be heard.
Real production systems — control rooms and automations, not a folder of prompts. They read your signals (comments, reviews, sales, footage, ops) and surface the next smart move. I've built these across a whole business through MuleTown — receptionists, review engines, intelligence dashboards. Content's just one thing the same machine can run.
I get inside what a customer actually feels — the fear, the hope, the thing they won't say out loud — and build the levers that earn their trust. Humor's the fastest one. Trust is what moves a goal forward, and emotion is the shortest road to it. (Yes, I'll make people laugh on purpose.)
Editor, creative lead, or the person who builds the AI systems behind the team — I've done all three, and led them. Senior enough to lead it, hands-on enough to make it.
I'm Jason — a husband and a dad, based in Middle Tennessee, who's been making things his whole life and never really grew out of it. For twenty years I made my living behind the camera — shooting, editing, directing, producing for brands like Coca-Cola, Adidas, and Intel, and editing award-winning documentaries along the way (one of them, 500 Feet Ahead, lives on Amazon Prime).
One I'm still proud of: I had rare access to interview Louis Zamperini — the WWII survivor at the heart of Unbroken — near the end of his life, when very few teams were let in. The footage I shot and cut held up well enough that the team behind Angelina Jolie's film licensed it for the movie's publicity tour and home release.
A couple of years ago I left California for Middle Tennessee and started building the other half of the job: AI systems that make a whole business smarter — the same control-room thinking, whether it's pointed at content or the front desk. I run So Long Saturn, founded MuleTown.ai (where I've built that engine across a real business — voice receptionists, review management, intelligence dashboards) and VideoAudit.io, and I help grow audiences at real scale — I was a lead on the team that took one YouTube channel from ~8k to ~350k subscribers.
I love the woods, big skies, old space-race optimism, and a good story. I take the work seriously. Myself, not so much.
Where the work lives in the wild — my own channels, plus the ones I've grown for clients. Real videos, real numbers, all on the platform that's hardest to fake.
Two channels of my own. The creative channel is where I swing for the fences — including a 1.06M-view viral hit. The AI channel is the newer one, where I think out loud about where this is all going.
Not just one-off videos — whole channels. I was a lead on the team that grew BuildWitt from 8K to 350K subscribers, and I made the launch film that became TigerTough's breakout.
Investor films and ad creative for a fast-moving startup. These videos contributed a lot to a roughly $3M early-stage raise — built fast, off real call data, across wildly different styles.
Proof-of-concept for a high-production podcast — and I oversaw everything: concept, location, crew, production, post, final delivery. We pulled high-end short form out of it, plus a second shoot with REX CEO Sean at the same time.
Built straight from the data. I took the questions investors kept asking on calls and turned them into one stylish video that answers them — so the next conversation could start a step ahead.
A side shoot for a completely different audience and approach. Put it next to the REX Promo and they feel like different companies — that's the point. Emotion is my main lever; as long as the style's bold, I can move anywhere on the dial.
A 1950s-style animated explainer. I'd hired an animator who delivered nothing — and found out about three weeks from the deadline. So I animated the entire thing myself, AI tools plus my own hands, in a crazy-short window. It shipped on time.
Threw it together in one afternoon right after a call with the CEO. Nobody asked for it — I just heard it and thought it'd make a great video. So I made it. That instinct is half the job.
Vertical ad creative cut for feed — same REX story, reframed for where the audience actually scrolls.
Vicarius let me push style as far as it'll go — and the person I worked with loved the process, so we had a blast making bold, stylistic videos. They branded Vicarius as a genuinely unique company.
Here's the honest lesson, because I'd rather you hear it from me: it's easy to get caught up making a video cool — the thing you love as the creator — and quietly lose sight of what the video is actually supposed to do. These pieces nailed identity. But you still need the other, more grounding (sometimes more boring) videos to move the needle and hit the goal. Strategy and outcome beat "cool videos" — every time. Knowing that difference is the part I'd bring to your team.
Enterprise cybersecurity that doesn't feel like enterprise cybersecurity. Bold, fun, unmistakably Vicarius — content people actually finish.
Another swing at making B2B security genuinely watchable. Big style, distinct voice — proof a category this dry can still have a personality.
Founder-led films, landing videos, and investor work — the range, from a one-day ad to a custom raise campaign.
This one lives on YouTube. It didn't rack up huge numbers — and I'm featuring it anyway, because it's a great example of a great YouTube edit. Sometimes the proof isn't the view count; it's the craft. Watch the cut.
Made for my own company, MuleTown, in a single day — and it turned out to be an extremely effective ad. I built it with local creators and business owners from the town I launched in. They were in it, they loved it, and they couldn't wait to share it.
I worked for free during Lynn's pre-seed raise for a real-estate app and built 3–4 videos tied to it. They talked with ~350 investors; I focused on the top 10% most likely to write a check and made custom video for each one — answering their specific questions to land the follow-up meeting. It worked. A day or two each, iterating fast.
This is the part that's most me. I lead with humor, I get deep into who the audience is, what platform they're on, and what the video is actually for — then I make something that connects to the goal. Reach isn't the point; resonance with the right people is. This style has driven more leads and clients than any ad I've ever run.
One video landed me six full clients at roughly $65K/month each. It got ~40–50K LinkedIn impressions — solid, not huge. And that's the whole point: it was never about big views. It hit the right audience, and it connected and converted like nothing else I've made.
My MrBeast, Jordan Peterson, and Good Will Hunting edits — bold, funny, unmistakably mine. They didn't chase reach; they showed exactly how I think, and pulled in the highest-quality leads I've ever made.
A Netflix-style trailer treatment — same instinct, different format. Lead with the joke, respect the audience's taste, and let the personality do the selling.
The one that started it — my re-edit of the "worst video ever." Humor-first, made to connect, not to chase views.
The follow-up, where I break down why that first video worked — and it went on to land me about four clients in a week. Watch them back to back.
↑ Watch these two as a pair. The first video is where the style clicked; the follow-up is me explaining exactly why it landed — and the leads that came from it. Before and after, in my own words.
Feature documentary, distributed on Amazon Prime. One of several award-winning docs I've edited — proof the taste is externally validated, not self-declared.
Live · solongsaturn.com
My video-intelligence agency. Built the first AI front-end to a production service — it decides what a brand should make next from real signals, then hands the brief to human craft.
solongsaturn.com →
Live · muletown.ai
Hyper-local AI for Middle Tennessee small businesses — voice receptionists, review management, custom chatbots. Founded it; built the products end to end.
muletown.ai →
Live · videoaudit.io
A free AI video-audit tool — serverless pipeline that returns an 8-category branded report to your inbox. A lead magnet that shows the thesis in action.
videoaudit.io →A video that lands needs three things working at once. Miss one and it falls flat — nail all three and people don't just watch, they trust you.
The think. A clear idea, a reason to care, a point that actually holds up. The substance that earns the click and respects the viewer's time.
The feel. Story, tension, a human you root for. The emotional line that makes a video stick long after the facts blur.
The connect — and the secret weapon. Humor is the least-protected emotion, so it's the fastest way in. Share a laugh with someone and they trust you quicker than anything else can earn. Hard to pull off. Worth everything when you do.
The personality edits — Jordan Peterson, MrBeast, Good Will Hunting — got low views and the highest-quality leads I've ever made. Reach isn't the point. Resonance with the right person is. that's the whole game ★
Well hey there, traveler. I'm Cosmo — I run the front desk of Jason's little corner of the galaxy. Buckle up: I'll be your guide, walk you through the good stuff, and you'll earn a little something at the end.
The tour starts on its own in a moment — no pressure, you can switch it off anytime from the corner.
You did the whole tour — so spin the orbit and claim your reward. Every planet's all upside. Don't love it? Spin again.