You came in through mauiisauces.com. That is the storefront half of the shop — this is the edit bay, which is the part you asked about. Everything here was shot, cut and finished in Fargo, and every technical claim on the page is one you can check in the frame.
Mauii Sauces runs two front doors on one site. The catalogue sells; The Summit Ascent is the one people forward to a friend — a real-time 3D scene that builds in the browser, eight bottles on pedestals over a molten floor, advanced one sauce per scroll. It is not a video file playing behind the type. Wholesale orders come off the same site into a notifier we wrote, so a bulk order reaches a phone instead of an inbox nobody is watching.
The sauce line standing on pedestals around a molten-gold floor, a chunky display headline, and a “scroll, one sauce at a time” prompt doing the work a scrollbar usually does.
mauiisauces.com · desktop, 1440×900
The eight-bottle lineup as a full-bleed hero under a bold white headline with a gold italic-serif accent, and yellow buttons that echo the bottle caps.
desktop, 1440×900
The hero reflows to a stacked headline with paired yellow and outline buttons. One page, two frames — which is the whole problem this studio works on.
mobile, 727×1600
Six finishes off the same client and the same shoot discipline, no two cut alike. Originals arrive at 2160×3840 or at 60 fps; everything leaves at 1080×1920. The reframe is a decision per shot rather than a crop preset, and the captions are cut to the read word by word, so the type lands on the stressed syllable instead of the sentence.
Opens on a built location montage — the Fargo Theatre marquee, a downtown aerial carrying a gold title, a sunflower macro, a polaroid stack — then a yellow/green/mono duotone grid and a branded Q&A card before the retro script title lands.
32.7 s · 1080×1920 · 30 fps · reframed from 2160×3840
The widest technique range in a single piece: a halftone newspaper-collage open with light-slat wipes, a sepia-silver grade, brushed-chrome type, a hot-pink neon word lit onto the shirt, a custom animated speed-dial graphic, and a glitch transition. The grade shifts with the argument instead of staying flat.
36.5 s · 1080×1920 · 30 fps · one flagged defect
Event coverage rather than a talking head — long lens, shot on the venue's own practical light and graded warm. The title types on in an editorial serif over the first frame, and rack-focus defocus carries the cuts instead of transitions.
21.9 s · 1080×1920 · 30 fps · reframed from 2160×3840
The restrained one. Low-key warm grade, single soft key. Captions sit at chest level and carry a real glow that spills onto the shirt, so the type reads as lit by the scene rather than pasted on a card. One mint accent colour, used once, on the word that matters.
23.3 s · 1080×1920 · 30 fps
Cool-silver monochrome off a 60 fps original. The retro script title sets over an aerial of a canola field and holds through a defocus transition into the interview, so one title beat spans the cut. Tri-colour word highlighting marks the stressed word in each line.
20.8 s · 1080×1920 · 60 fps original
The most graphic of the six. A kinetic title in the dark, then the subject cut off the office background with a hand-drawn white outline over a designed lower-third, then a pop-art circle mask on a pink/lilac field, then a cool duotone — four distinct looks on one subject in 26 seconds.
25.8 s · 1080×1920 · 30 fps
Thirty-four covers came out of the same afternoon. These are the nine that hold at thumbnail size and at full bleed. One system does all of them: a rule-number plate, a cutout subject, a radial burst, and a hard zero-blur plate shadow that puts the letterforms in front of the light instead of on top of the picture. The order is ours, and the reason for each placing is in the caption.
Two words at the largest point size in the family, split white-over-lime so the question resolves before the eye finishes the frame; both hands are working, one pointing into the type and the other open in the shrug that asks it.
A three-line lockup that puts the accent colour on the middle line rather than the last, so the stack reads as one shape instead of three rows, and his finger terminates exactly on the type's left edge.
The customer objection set as the enemy: a white setup line over a lime payoff that bleeds confidently to the left frame edge, with the subject flipped to the right so his glance and his point both aim back into the words.
The only numeral layout in the set: an oversized figure carries the frame and the word locks beneath it on a shared baseline, which is what proves the system can do more than stack words.
The cleanest white-on-violet in the family; the lime burst passes behind the glyphs while the hard zero-blur black plate shadow sits in front, so the type occupies real depth in the image instead of floating on a card.
The best piece of pure typesetting in the thirty-four — a three-tier comparison where the small lime “vs” acts as a hinge between two different weights, rather than three equal lines of the same size.
Keeps the headline white on the orange field, which is the one colour pairing the family breaks elsewhere, and lets the cyan burst do all the colour work behind the subject instead.
The cleanest cutout and glyph fill of all thirty-four at native resolution — solid white letterforms, even black stroke, and a cyan rim light that separates the matte from the orange with no halo; mirrored to break the grid's rhythm.
The only magenta headline in the nine, which gives the grid a third accent colour instead of lime twice over. Docked a place because the hard shadow on the final R is truncated by the frame edge.
Four series opens. None of them is a plug-in preset: the ground trace, the CRT pass and the type masks were each written for the job. That matters less for how they look today than for what happens when the series changes — a preset has to be replaced, and code gets an edit.
FARGO / NORTH DAKOTA is set flat, perspective-warped onto the street plane of a still aerial and traced on with a wet-paint leading edge — a 2D four-corner warp on a photograph, not a 3D camera track. Stock plates, polaroid stills and a staggered three-band duotone title card follow.
Rendered frame by frame in Python (NumPy / OpenCV) on a 120 BPM beat grid.
6.57 s · 1080×1920 · 30 fps · silent · H.264 High 4.2 · CRF 26.25
Opens on procedural television static and NO SIGNAL, flips through four channels of short clips, snaps to colour bars and lands the title with a shake on a dimmed monochrome plate.
Barrel warp, scanlines, RGB split, bloom and a rolling tracking band, applied to every frame in Python / OpenCV rather than a plug-in preset.
4.10 s · 1080×1920 · 30 fps · silent · H.264 High 4.2 · CRF 31
The title is a live SVG text mask over an aerial plate with a baked CRT warm-up flicker; the mask then scales nine times to push through the letterforms into the full field.
Built as an HTML composition on a single deterministic timeline (HyperFrames / GSAP), with plain grade, grain and vignette. No client footage on screen.
6.00 s · 1080×1920 · 30 fps · silent · H.264 High 4.2 · CRF 26
The same mask engine run in reverse over a sunflower plate: the land contracts from nine times scale into the letterforms, the horizon splits sky from field across the two lines of type, and the lockup lands and holds.
One engine, two directions — which is the argument for writing it rather than buying it.
5.50 s · 1080×1920 · 30 fps · silent · H.264 High 4.2 · CRF 25
A mark is the cheapest part of a brand system and the part everyone argues about. These are built to survive a one-colour print, a decal cut and a 26-pixel favicon before anyone sees them in colour.
Our own mark, rendered as a glossy 3D object for the site hero and flattened to one colour for everywhere else. The knot is an oak-root figure; it was chosen because it reads at any size and has no orientation to get wrong.
TE stacked over KU in heavy wide caps with a single red record dot — a monogram built to work as an app icon and as a jacket patch.
A 2026–27 supporter decal: rodeo-event silhouettes over a dusk mountain range in two-tone western slab lettering, drawn inside a circle because that is the shape a vinyl cutter likes.
The card front is a camcorder viewfinder: REC dot, timecode, corner brackets. The frame does the work a border usually does, and it tells you what the company makes before you read a word.
Solid TEKU beside outlined TEAM, with a REC and EST. 2017 line above and the tagline below on shutter grey. The same two weights carry the whole identity.
Our own. The knot, a hairline rule, and the wordmark — drawn once as an SVG and coloured three ways, so it goes on a dark site, a white invoice or an emerald decal without being redrawn.
Emerald on off-white. Paper, invoices, anything printed.
White on near-black. The site, titles, any dark ground.
White on brand emerald. Decals, shirts, vehicle glass.
Self-assigned exercises. There is no business behind any of these three and no client paid for them — they exist to test whether the system holds when nobody is there to approve it.
A flame-winged shield mark and a condensed “Built to outlast” headline on charcoal with orange accents.
A copper bean-in-shield mark paired with a high-contrast italic-serif tagline on roast-brown and forest green.
A gilded sprig emblem and an italic-serif headline on deep oxblood, styled for a wellness studio.
Industrial Piping 701 is the other end of the range from a 3D sauce scene: a welding outfit whose customers are standing in a muddy yard holding a phone. The same studio builds both, and the difference between them is a decision, not a limit.
A condensed all-caps headline beside a full-height photo of a welder in a trench, framed by blueprint-style row markers, with a one-tap call button living in the nav instead of at the bottom of a contact page.
industrialpiping701.com · desktop, 1440×900
The headline restacks at full width and “Call or Text” sits where a thumb already is. This is the view that actually converts for a trade business.
mobile, 727×1600
The work page header on the site's grid-and-marker frame, introducing a gallery of real field and shop welds — photographed on site rather than bought from a library.
desktop, 1440×900
Ranger, and The $20 Archive at twentysbroke.lol — a long-running personal project that doubles as the studio's test bed for anything we would not try on a client first. If something on a client site looks like it took nerve, it was usually proved out there before it shipped.
csc-innovations.com · Fargo, ND
This is the part you said you wanted. There is no secret in it — the leverage is that the transcript, not the timeline, is where the edit gets decided, and that every stage runs on machines in this building.
faster-whisper, locally, on a 2017 Pascal card under the desk. Word-level timestamps, not sentence-level. Nothing uploads — client footage never leaves the building, and a two-hour interview costs electricity instead of a per-minute bill.
The transcript is the edit. Beats get marked in text, which is faster than scrubbing and makes the cut arguable with a client before a single frame moves.
Reframe 2160×3840 to 1080×1920, shot by shot. The grade is allowed to shift with the argument rather than sitting flat across the piece.
Word-level burn-in, cut to the read so the type lands on the stressed syllable — and placed in the scene, lit by it where the shot allows, instead of parked on a card.
H.264 High 4.2, 30 fps, CRF tuned per piece rather than a single export preset. Source projects included. Every file is yours to keep.
Five of the thirty-four did not clear it. They are not on this page — these are their frames, empty, with the reason each one was killed.
An AI-generated likeness of a man who is not the client. Deleted rather than corrected.
A stock plate with the Ai watermark still burned into it.
A cut to a stock card showing a presenter who is not the client.
A title card reading Partener.
A title that broke ANSWER into ANS WER and ran off the frame.
One did ship with a flag on it. Clip 02 above carries a missing apostrophe in its title card — Its For Old People? It is good enough to show you and wrong enough to tell you about, and you would have found it, because finding that is your job.
Two more are held for rights rather than craft: a set of client-owned product photographs and a mark we do not have clearance to republish. They stay out until the paperwork says otherwise. That rule is the reason the aerials in the opener above carry a credit line.
CSC Innovations is a family-run media studio in Fargo, founded in 2021. Curt Foley owns it and answers the phone. Colton Foley shoots, cuts and designs — everything on this page came off his desk, including the code behind the motion.
There are no account managers in between, so you talk to whoever is doing the work. Every file is yours to keep: footage, stills, logos, source projects. No licensing games and nothing held back if you ever leave.
Aerial photography in the series opener: Fargo ND Downtown overview.jpg by Ron Reiring (CC BY 2.0) and Fargo Theatre 2022-07-21.jpg by Schwerdf (CC BY 4.0), via Wikimedia Commons; cropped, graded and animated.
Ironside Welding, Ember Road Coffee and Cedar & Sage are self-assigned concepts with no client behind them, marked as such wherever they appear. Client work is shown with permission; client photography remains the client's.
Set in Big Shoulders Display, Hanken Grotesk and Martian Mono. Built in Fargo, 14 October 2026.