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People don’t want change. They want a better life.
High taste, high quality content.
Lots of it.
There has never been more content, and there has never been more bad content. People want high quality, high taste content with an opinion. That's what we make.
Only the biggest brands used to be able to keep a content machine running every week. Now any company can: real footage you shoot yourselves, generated shots for the places a camera can't go, and a finished film every week you have something to say about what your company is and what it does in the world. We are the production company, the ad agency and the engineers, with twenty years of world-class on-location production behind us and seven years designing databases and company operating systems.
The Pipeline.
This is the part that runs every week, and we can run it remotely.
Monday starts with an article. It has a thesis, the evidence behind it, and a conclusion. Over the week we pull the right shots from your library, generate the ones a camera couldn't get, and record a bit of new footage if we need it. By Friday there's a finished film, mixed, color graded and cut, and one approval from you posts it to LinkedIn, Instagram, TikTok, YouTube, Facebook and your Telegram channel, each in the size that platform wants.
Your library is everything you own in one database: footage from old shoots, public-domain stills that fit your story, the iPhone clips someone on your team shot on a site visit. Every shot is logged with where it was taken, when, what's in it and who owns the rights, so the next film starts from everything you've ever shot instead of from zero. We cut with Claude Code driving DaVinci Resolve, the software feature films are finished in, so the mix, the color and the timing are done properly. And a person with taste chooses the take, writes the line and calls the cut on every film.
It runs when you have something to say. When you don't, it waits.
Your Studio.
A room in your office, built once, that your team can use every week with a crew of one.
We design it and install it: the lights, the cameras, the sound, the room treated so it sounds right, the kit set up so one person can walk in and run the session. What used to take an eight-person crew now takes one. Your executives and team leads sit down for a weekly on-camera session, sales explains the product, the founder answers the question customers keep asking, and every session is in the library the same afternoon.
Over a year the studio pays for itself in footage you'd otherwise have paid a crew to shoot, and your people get comfortable on camera because they're on it every week.
On Location.
When there's budget for it, we come to you with a director and a small crew. That might be your installation on the other side of the world, a conference you're speaking at, your plant running at full capacity, or a customer using your product in their own space.
While we're there, we shoot far more than the one film we came for, so that footage keeps feeding new films for the rest of the year. We also gather B-roll as we travel for other work. When a shot is impossible to get with a camera, or too expensive to send a crew for, we generate it instead, and every generated shot is labeled as AI in the corner of the frame and in the credits.
Taste, Not Volume.
We're after long-term brand reputation, not reach for its own sake. These are the rules we work to, and we hold ourselves to them on every film.
Every film we make argues something. It opens with a claim, backs it with the evidence that supports it, two pieces or four depending on what you have, and closes on what follows from that. If a piece has nothing to argue, it isn't worth your customers' time or yours, so we don't make it.
We don't post to keep a schedule. If a week goes by without anything worth saying, nothing goes out, and your audience learns that when you do speak it's worth their attention. Silence beats a post nobody needed.
We're not making clickbait. Nothing outrageous, nothing designed to provoke, nothing that gets a view this week and costs you your reputation next year. The aim is a body of work your customers actually want to watch, that shows what your company does and why it matters, and that still looks good five years from now.
Your brand has an opinion, and its pictures should show it. That means no stock imagery, no default look, nothing that could just as easily belong to another company. We set your visual language with you once, the palette, the type, the lenses, the references, and we hold every film to it. If you don't have one yet, building it is where we start.
Real footage beats generated footage, so we reach for the camera first. Generated shots are for the places a camera can't go, or the places the budget can't send one. They are never a substitute for a shot you could have gone and got.
Generated work gets good through iteration. We don't take the first render; we make twenty, against your costume references, your location references and your visual language, and keep going until the shot looks like it belongs to you and no one else.
Software does the heavy lifting, but a person with taste chooses the take, writes the line and calls the cut on every film. The pipeline makes that work fast; it doesn't make it optional.
The Work.
We aren't here to sell you an expensive shoot once a year. We're here to be your production company, your ad agency and your engineers, every week, for years.
Who's Behind This.
- 2026 Launches Dovetail.City, a think tank on housing and urbanism
- 2023 Founds Dovetail Systems · databases, automation, and AI for operators
- 2018 Co-designs and co-founds Rosetta Hall, Boulder · $10M food hall, staff of 100
- 2013 Directs $20M ride film with ILM · Wanda, China
- 2010 Commercial director · Apple, Coca-Cola
- 2002 Co-designs and co-founds art gallery Rembrandt Yard
Dovetail is run by its founder and a small bench of senior engineers, from Barcelona to Honolulu. Nothing gets handed to juniors.
Donovan Greene spent a decade directing commercials, then crossed over to operations: co-designing and co-founding Rosetta Hall in Boulder and running it from permitting and construction through daily service with a staff of 100. He has been the customer for bad software: the operator juggling a dozen tools that don't talk to each other.
Since 2023 he has solved business problems with data: unifying scattered systems into one database, then building the automations and agents that run on top of it. Those systems are in production today at healthcare, construction, and hospitality companies, doing real work every night. In 2026 he launched Dovetail.City, a nonprofit think tank on housing and urbanism: short film essays on hero projects, a public record of what works, and planning law translated into plain English, all to close the gap between what we know works and what actually gets built. He has lived and worked in the US, Spain, China, the Netherlands, and Japan.
Most consultants who talk about AI have never run a business. Most operators don't write code. Most engineers can't make things beautiful. Dovetail exists because your company deserves all three.
Get In Touch.
Tell us what your company has to say. We'll come back with the pipeline, the studio, and what each one would cost.
or write to hello@dovetail.systems