The Content Campaign | She Rich Digital
The Content Campaign · She Rich Digital

You don't need more content. You need a campaign that gives the content a job.

I come to you, capture the moments people actually need to see, turn them into a 30-day campaign built around the one thing you're selling, publish all of it, and manage the conversations it creates.

One offer. One campaign. Thirty days.

Tell me what you're selling See the pricing
Shot on my phone
You've been here before

You've bought content before. You know how it ends.

Somebody shoots. You get a folder. You post for nine days, life happens, and it dies in your drafts. Three months later you're looking at the same folder wondering why nothing came of it. The content was fine. It just never had a job.

A campaign has a goal, a start date, an end date, and a number attached. A folder has none of that.

Where I fit

Everybody on your team is doing their job. What happens after the post isn't anybody's.

Your photographer is handling how it looks. Your social media manager is keeping the feed alive. Both real jobs, both being done. But nobody is holding the piece between posting something and somebody actually taking action on it. That's my seat.

Your photographer
The shots

The polished images you're proud to put anywhere. He's locked in on the shoot, which is exactly what you hired him for.

Your social media manager
The feed

Keeps you consistent and holds the calendar together, working with whatever material she's handed.

The Content Campaign
The conversion

The campaign built around one thing you're selling, and every conversation it starts, handled and moved forward.

I'm not replacing either of them. I work alongside both, all the time.

Pick your goal

Every campaign is built around one of three things.

If you can't name which one you're doing, you're not ready for this yet, and I'll tell you that on the call.

Fill the room

An event, workshop, summit, retreat, or pop-up with a date and seats to sell.

Book the offer

A service, package, or booking window you need on the calendar.

Launch the thing

A product, program, enrollment period, or something new going live.

Read this part carefully

Who this works for.

This is you
  • You know exactly what you're selling and what it costs
  • There's a date, a launch window, or a booking goal attached to it
  • You're done buying content folders that go nowhere
  • You want somebody to run it, not hand you homework
  • You can deliver if the calls come in
This isn't you
  • You want pretty reels with no sales goal behind them
  • You haven't decided what you're selling yet
  • You want unlimited posting on retainer forever
  • You want to hand me your camera roll and skip production
  • You're chasing views instead of customers
The thirty days

What actually happens.

FirstThe campaign plan

Before anybody points a camera, we lock the one thing we're selling, who we're selling it to, and what has to be true in their head before they buy. That decides every shot on production day.

ThenProduction day

One day on site, wherever it's happening. Your event, your client day, your work session, the weeks leading up to the thing. I'm not there to pose you. I'm there to capture what the campaign needs, which is usually the reactions, the conversations, and the parts you'd never think to film.

No studio, no space to rent, no setup on your end. I shoot where the thing already is.

NextTwenty campaign assets

Cut, captioned, and built for a specific job in the campaign. Not twenty random clips from the same afternoon.

Problem awareAuthorityProofBehind the scenesObjection handlingThe offerUrgencySocial proof
ThenI run it

You don't leave with twenty videos and homework. I schedule it, publish it, and run the campaign for the full thirty days, in your voice. You don't have to remember, upload, or write anything.

ThroughoutThe conversations

I answer the comments and DMs the campaign creates. Questions, hesitations, the ones who ask the price and go quiet. I handle the objections, follow up, and move the serious ones to your booking link or checkout.

To be clear about the line: I don't negotiate your prices, take payments, or chase people who've said no. Inbound conversations are mine. Your money stays yours to collect.

At the endThe number

We agree up front on the one metric this campaign is judged by. Tickets, bookings, applications, registrations, inquiries, sales. At day thirty I tell you what it did, including if it underperformed.

Real footage, real rooms

This is what I'm looking for while everyone else is posing.

Nobody books off a staged photo. They book because they saw two seconds of something real and thought, I need to be in that room next time.

Her client seeing the photosThat reaction is the whole ad. You can't schedule it, you have to be standing there.

Me working the roomPhone, tripod, ring light. I move around what you're already doing.

Her coaching her client through itExpertise on camera, unscripted. This is the clip that makes strangers trust you.

Behind the scenes of the setupThe work nobody sees is the part that makes people take you seriously.

Ashli shooting content on site with a ring light

On site, in your spaceNo studio to rent. I shoot where the thing is already happening.

For photographers and social media managers

Make your package worth more without doing more work.

You already know your clients want reels and behind-the-scenes clips you can't get while you're working the camera, or that the footage you're handed caps what you can do with the account. Two ways we work together. Bundle me into your premium package and bill it as yours, so your offer gets bigger and I stay invisible. Or refer me out and take a cut of every campaign that books. Either way your client stays your client and I never pitch what you already sell them.

Talk partnership
Receipts

What happens after it goes up.

My clients keep their names to themselves, so here's the work and what came of it.

Client review of the content work
Results from a content campaign Results from a content campaign
Founding rate, first three campaigns

I'm building my case studies. You're getting in before the standard rate.

The first three campaigns go out at the founding rate. In exchange, you let me report the number publicly and use the footage. After those three, the local campaign is $1,800 and stays there.

Local campaign · Founding rate
$1,250

Production day within driving distance of Baltimore, the campaign plan, twenty campaign assets, thirty days of publishing, and the conversations. Standard rate after the first three: $1,800.

Claim a founding spot

Half down books your production day. Balance before we shoot.

Travel campaign
$3,950

Everything in the local campaign, where I come to you. The difference covers flights, hotel, getting around, and the two travel days that come with it.

Start here

One flat rate anywhere inside a two-hour flight. Farther than that, or a holiday weekend in a high-cost city, book a call and I'll quote it.

The only math that matters

Don't compare this to your photographer. Compare it to what's still unsold.

A photo shoot is a cost. A campaign is supposed to pay for itself before it's over. So the question isn't whether I'm more expensive than a shoot. It's how much money is sitting in the seats you haven't sold.

If you're filling a room
14 seats

Thirty seats at $95. Eleven sold, three weeks out. That's $1,805 unsold. Fourteen more tickets covers the campaign. Everything after that is yours.

If you're booking a service
3 clients

A $500 package. Three bookings clears the campaign. If your work brings people back, those three are worth a lot more than that over a year.

If you're launching
Run the number

Take your price, divide the campaign by it, and that's how many you need. If the answer feels impossible, tell me on the call and I'll tell you straight whether this is the right time.

And if your total possible revenue is smaller than my fee, don't hire me yet. I'd rather say that now than take your money.

How it goes

Three steps and we're shooting.

You tell me what you're selling

Fill out the form below. What it is, what's on the calendar, and where you are.

We get on a call

Twenty minutes. I tell you what I'd shoot, what the campaign would look like, and what number we'd judge it by. No charge.

Contract, deposit, date

Half down holds your production day. Then I show up and we go to work.

Before you ask

The straight answers.

Why does this cost more than a shoot day?
Because a shoot day is one day and this is thirty. You're not buying footage. You're buying a campaign built around one thing you need sold, published and worked for a month, with somebody answering your people the whole time. If all you need is footage, hire a shooter. That's a real answer and it'll cost you less. And if you already pay a photographer, keep paying him. He shoots your brand images. I'm not replacing that line item.
My photographer charged $450 and I got a studio, 24 edited photos, and videos. Why is this more?
Because that was a great price on assets, and assets aren't what this is. She gave you files. Nobody had a plan for them, nobody posted them for thirty days, and nobody answered the person who asked your price and disappeared. If what you need is images, book her again and save your money. If what you need is fourteen more tickets sold by the eighteenth, that's a different purchase.
Can I just hire you to direct it and have my photographer shoot it?
No, and I'll be honest about why. The value isn't the shot list. What makes this footage work is reaction and timing, which means deciding in the moment while it's happening, not handing somebody a list. A photographer will shoot that list beautifully and still miss the two seconds that sell. Then it looks like the direction failed. I don't sell direction on its own.
Can I skip production? I already have footage.
No, and here's the honest reason. I'm responsible for how this campaign performs, so I have to control what it's built from. I decide what needs to be captured, then I capture it. Handing me a folder breaks that chain, and when it underperforms I'm the one you'd be looking at. Production is part of every campaign.
What does managing the conversations actually mean?
I answer inbound comments and DMs the campaign creates, handle the objections that come up, follow up with people who went quiet, and move the serious ones to your booking link or checkout. I don't negotiate prices, take payments, or chase anyone who said no.
Do you guarantee a number?
No. I don't control your pricing, your reputation, your delivery, or your market, and anybody promising you revenue is guessing. What I do control is the campaign, and I own that end to end. We agree on the metric up front and I report it honestly at day thirty either way.
I already have a photographer. Do I still need this?
Keep him, and I mean that. I work with photographers constantly. He's making you look good and I'm building the campaign that turns it into bookings. We stay out of each other's way and you end up with both.
What if I hate being on camera?
Half of what I shoot isn't your face. Hands, rooms, reactions, your client's excitement, the details nobody notices. And the publishing is mine, so you're not the one who has to keep up with it.
Do you need me to book a studio?
No. Nothing to rent and nothing to set up. I shoot where the thing is already happening, which usually looks better anyway.
Let's talk

Tell me what you're selling.

This comes straight to my inbox. I'll read it and get back to you with whether it's a fit and what I'd build.

Or book the call now

This opens your email with everything filled in, addressed to office@sherichdigital.com. Hit send and it's with me.