Creative Proposal · Videography
Solstice
10718 Mora Drive · Los Altos, CA
Not a house tour.
A first day.
10718 Mora has been owned but never occupied. Completed ten years ago, it has been preserved and waiting. Six real estate teams have tried to tell its story. None have asked the most interesting question: what does this home feel like when it finally comes alive?
This film answers that. It follows a single arc from pre-dawn to dusk, using the movement of the sun as both structure and metaphor. Solstice is the moment of maximum light, of turning. That is the story.
This is not a lifestyle video. There are no aspirational characters performing a life you are meant to covet. It is quieter than that, and more confident. The architecture, the land, the light, and the vineyard do the work. The buyer we are speaking to does not need to be sold a fantasy. They recognize one when they see it.
"Here's what your life could look like here."
"Here is a place unlike anything else. You already know if it's yours."
First person. You are already here. The home reveals itself to you.
Slow, deliberate, breathing. Luxury is never in a hurry.
The arc of one perfect day
Dawn
Arrival in Darkness
The Rancho San Antonio Preserve in pre-dawn stillness. Fog sitting over the valley below, the same fog Patricia and I witnessed on the scout. The outline of the home against a deep blue sky. Total quiet except for the first birds. This is the moment before anything begins. The house has been waiting ten years for this morning.
AM
Sunrise — The Facade Wakes
The sun crests from the northeast, exactly as mapped during the scout, and rakes across the L-shaped facade. The warm cedar cladding ignites. The vineyard rows in front of the house catch the first light. Grapes do not grow elsewhere on the Peninsula, which makes this remarkable. This is the film's first reveal. One long, unhurried shot.
AM
The House Comes Alive — Interior Morning
Light enters from the east-facing glass walls and skylights, casting long traveling beams across the two-story living space and mezzanine. The marble catches and diffuses it. The floating staircase in black steel against white. The all-white kitchen with its integrated Gaggenau appliances as the morning light sweeps across the seamless cabinetry. The tub. The reflective surfaces doing what they were designed to do.
Noon
The Land — Preserve and Vineyard
The connection to Rancho San Antonio. The property does not just sit near the preserve, it belongs to it. This is where the wildlife lives: birds of prey riding thermals above the ridgeline, hummingbirds in the terraced garden, the quiet rustling of the vineyard in the morning breeze. Close macro shots of the vines. The terraced landscaping leading the eye down toward the valley. This section is unhurried and observational.
noon
Architecture in Full Light
The midday sun sweeps the pool deck and the exterior terracing. The infinity pool edge dissolves into the treeline and the valley beyond. The home theater, a dark cinematic room that reads as a counterpoint to the brightness of the rest of the home. The ADU. Details: hardware, material transitions, the precision of the joinery. Not a checklist, a portrait.
Hour
The Back of the House — Evening Light
The sun moves west and the back yard comes into its own. Soft warm light across the pool deck. The terraced landscaping turns golden. The pool light feature begins to glow as the sky deepens. The East Bay hills and the sliver of bay, visible through the topped trees, catch the last of the day. This is the emotional peak of the film.
The House Lit from Within
The exterior at last light. The home glows from inside for the first time in ten years. The vineyard in silhouette against a darkening sky. We end where we began, but now the house is alive. A single long shot holds on the facade as the lights come up, and then we let it breathe. Cut to black.
What we found on site
These images were captured during the initial scout at 10718 Mora Drive. The sun trajectory overlays were shot using augmented reality software to map the exact path of sunlight through each space on July 29, 2026, confirming the lighting opportunities identified in the story arc.
All sun trajectory data confirmed via augmented reality solar mapping · 10718 Mora Drive, Los Altos
Work that informs this film
These are not templates. They are the vocabulary being drawn from, specific techniques and sensibilities that feel right for this property and this story.
Ida Clayton
Napa Valley
The pre-dawn arrival, fog sitting over the valley, the slow timelapse of a day beginning. If the morning at Mora gives us what Patricia and I saw on the scout walk, haze in the valley and the ridgeline emerging, this is the reference for how to hold that moment and let it breathe.
Watch on YouTubeDry Creek
The relationship between architecture and the land it sits on. Close observation of what lives and moves at the edges of the property. The raptors, the hummingbirds, the preserve beyond the treeline. This section of the film will feel like the house is part of something larger, because it is.
Watch on VimeoSummit
The attention to material and craft: reflective bathroom surfaces, the soaking tub, the integrated kitchen appliances, the infinity pool's light feature. Every detail earned its place in this home. The film gives those details the same care the architects did.
Watch on VimeoMusic that belongs to the landscape
The score should not feel placed on top of the visuals. It should feel like it came from the same place they did: slow, organic, unhurried. Ambient music that opens space rather than fills it. All tracks by Liquid Memoirs, licensed through Artlist for all delivery platforms.
The primary candidate. The title is almost too fitting: this film is about a home in transition, a day in transition, a solstice. This track would run as a single continuous piece under the full arc of the film. The music breathes the same way the visuals do.
A quieter option for the interior morning sequences. The sense of stillness before the day fully begins, light entering empty rooms, the house waking up on its own terms. Could work as an alternate cue for the pre-dawn to sunrise section.
The emotional closer. There is something in the idea of a home that has waited ten years to be found finally being released into its first life. This track could carry the dusk sequence and the final shot of the facade lit from within.
Two days.
One film.
This is a two-day shoot minimum: a full production day and a sunrise. Because of the distance from my base, I will be on-site the nights before each day so I am ready to move the moment the light is right. No compromises on timing.
Sunrise through golden hour. Interior and exterior coverage. Vineyard, preserve, pool, architecture and detail work.
Pre-dawn arrival through morning. Return for golden hour and dusk sequence. Multi-day rate applied.
Hotel accommodations for 2 nights are included in the budget. I also reserve the right to bring an assistant on set as needed.
Liquid Memoirs licensed through Artlist. Royalty-free for all delivery platforms.
Post-production, color grade, and delivery quoted separately. Timing aligned with Peter Lyons' shoot schedule and Vesta staging. Late July or early August.