Two days inside the biggest Roblox moment of the year, shot for the hundreds of millions of players who will never get a badge.
The video most Roblox players will never get to see. When they watch, they should feel let in.
Amy, your brief asked for two days of founding-story content around RDC, built for TikTok and YouTube, with a piece you can put in front of investors. This is how we'd make it. Not a restatement of what you sent, but how Hot Juice reads it, shoots it, and gets it back to you fast enough to matter.
The audience is the player who has never heard of RDC, so everything we cut is an all-access pass: the creators they already follow, the room they cannot get into, the purple furry wall going up, the cake, Boopp, the hallway chatter. Behind the curtain, never behind glass. Your brief said it best: when they watch, they should feel let in. We build every clip to earn that.
Volume of vertical clips, cut on hooks, built to be reposted by the creators in them.
A hero film that tells the founding story, plus a repository the team can pull from all year.
Every creator who sat with bumpp gets their own moment they will want to share.
"You are not supposed to be here." Doors, wristbands, the private room, backstage at the booth. The feeling of being let in is the brand promise, so the camera earns it every time.
They are the centerpiece. Quick, natural moments with each of them, shot so their own audience recognizes them in the first second and so bumpp can tag them.
Mascot, balloons, furry wall, cake. The world of bumpp shows up in frame constantly, never explained, always present.
Amy and the team on camera, in the moment, saying why. This is the spine of the hero film and what the deck pulls from.
RDC itself. Queues, main stage, the floor, the after-parties. The bigger the moment feels, the more the access is worth.
Warm, fast, a little cheeky. Cinematic where it counts, phone-native where it should feel real. Never corporate, never a sizzle reel.
Seventeen creators confirmed so far, over 31 million YouTube subscribers between them, before the pending names land. That is the reach in the room, and it is the reason the cuts get made fast and tagged.
We shoot the night social-ready and YouTube-ready. bumpp gets a cut and a run of shorts it can post itself, tagging the creators who are in them, so they reshare to their own audiences. That is the whole play: one room, one night, and millions of followers seeing bumpp through people they already watch.
Two units, two speeds. Hi-fi: Joe Huynh on cinema A-cam with wireless audio, every setup framed with the 9:16 crop in mind. Lo-fi: Marcus shooting iPhone-first, native vertical, social-first, close and fast, plus stills and the after-parties solo. Marcus directs and produces the day, and shoots the feed-native layer himself. Both feeds land in one bin the same night.
Cinema 4K for the hero film and the clips that live on the channel all year. iPhone for the raw, native, reshareable layer that feels like it came from inside the room. Neither is the backup.
A couple of easy questions to each creator, the same ones all night so answers cut together. Lav mic, natural light plus one small key, no setup longer than two minutes.
Every setup starts with a reaction, a reveal, or a line. We shoot the hook on purpose, not hope to find it in the edit.
A handful of selects from the dinner get cut that night and land with bumpp by morning. bumpp posts them, creators are tagged, creators reshare, and the story builds while everyone is still on the floor.
5:00 PM crew in. Room build, balloons, place cards, the cake, the "You're in" wall: prep footage before anyone arrives. 5:45 to 8:00 dinner. Cinematic room B-roll, portrait moments as creators arrive, candid table conversation, rolling interviews in a quiet corner throughout. Amy's welcome on two cameras. Through 9:00 wrap. Group moments, cake reveal, goodbyes, the room emptying out. Card backup before we leave the building.
A handful of selects, 3 to 5 vertical clips, cut that night and delivered to bumpp by Thursday morning. Not everything, and not to creators directly. They are in bumpp's hands Thursday morning, before booth build, so bumpp can post, tag the creators, and get them to come by the booth to pick up their gift from the night before. It builds from there through the day.
12:00 to 1:00 booth build. Purple furry wall going up, backstage energy, the team prepping. 2:00 to 5:00 booth live. Primary window. Creators and attendees at the booth, reactions, Boopp moments, quick creator hits with the RDC floor behind them. Rest of day roaming. Queues, main stage, hallway chatter, spontaneous creator interviews. By now last night's clips are live on bumpp's TikTok with creators tagged, so the booth has a reason to visit. Evening, if confirmed. Marcus solo, iPhone only, one or two after-parties, enough to convey the scene, then out.
Joe travels home and cuts the same day. Footage organized by creator and by through line. First hooks selected with Amy's input on which creators to lead with.
Wave two of the forty, cinema-led this time. Posted while RDC is still running, so bumpp is in the conversation, not recapping it.
Remaining clips, hero film, stills, and the repository delivered as downloadable links.
you're in. the room, the creators, the cake. rdc 2026 #roblox #rdc2026 #bumpp
Cake reveal, creator moment, the wall going up. Each one is framed on the day so it drops straight into a 9:16 frame with the face clear of the caption and the rail. Captions burned in, clean version alongside, exported for TikTok first, then Shorts and Reels from the same master.
bumpp's brief bracketed 30 to 50 clips. From two days with one cinema unit and one phone unit, forty finished pieces, edited and cut, is the number we can stand behind at the quality that gets reposted. The same-night selects and the rush batch are the first two waves of that forty, not on top of it.
Your brief asked what the right mix of quick phone footage and higher-production work looks like. Both, on purpose. The same-night clips and the rush batch lean on the iPhone unit and the simplest cinema setups because speed is the value while RDC is live. The full set and the hero film lean on Joe's A-cam because those live on the channel and in the deck for a year. Same shoot, two speeds, one repository.
One number, built for a seed-stage partner and a friend. Camera package absorbed, color and captions included, insurance and our standard 20 percent handling fee waived. The breakout below is every cost and estimate behind it, because that kind of transparency is how we like to work.
Travel and lodging are estimates, booked the day this is approved. Lodging is a capped allowance. Crew and edit are flat.
This is a short turnaround, so either way a payment on approval is what lets us book Joe's flight and the rooms the same day. Option one, $9,300: a 50 percent deposit on approval, and the remaining 50 percent invoiced on delivery of the final products. Option two, $8,600 paid in full on approval, saving $700. One invoice, everything handled in one go. Agreement and invoice issue on approval. Overtime beyond the scheduled windows agreed in advance.