Restaurant marketing agency,run by restaurant owners

Week one: the shoot and the shot list

Every month starts with footage, because every post and every ad is cut from it. Our photographers and videographers are trained by our own team and arrive with a shot list written from your menu, your cuisine and the items that sell best. That last part matters most. A shoot planned around whatever looks pretty on the day gives you a gallery. A shoot planned around the dishes you want to sell more of gives you ads.

A good shoot day covers the plate, the pour, the room and the people who work in it. We film short clips of three to five seconds because that is what stops a thumb, and we take stills for the menu, the website and print. Then the footage comes back to us for editing, music and the words. One day at your restaurant becomes weeks of material, which is how our content team keeps a calendar full without asking you to hold the phone.

Week two: one offer, and never a coupon

With the footage in hand we pick what the month is for. One offer at a time, aimed at one gap: a quiet weeknight, a brunch that never caught on, a room that sits empty on Thursdays, a big date on the calendar. We own a restaurant and we dislike discounts. A coupon fills the room with people waiting for the next coupon. Our offers are built on what you already sell well and profitably, so the guest pays full price and leaves glad they came.

Each campaign gets one job, and we use ten kinds of them: local awareness, new followers, in-store visits, online orders, private events, catering and more. A month might pair a weeknight offer with a push for the party room. Our guides show the thinking behind the most common jobs, from filling slow nights to selling more catering and planning the big dates weeks ahead.

Weeks two to four: ads drawn around a few miles

Restaurants are local, so the ads are too. We draw each campaign around the one to five miles your guests actually come from and show the clip to the people who live and work inside that circle. The ones who watch, tap or visit your site are shown your restaurant again, with more weight on private events and catering, the sales worth the most. The system has worked in towns of around 10,000 people as well as in big cities.

The platforms do different jobs. Facebook is where neighbors plan birthdays, office parties and event nights. Instagram is where a reel of one drink or one dish turns into a table for Sunday. We watch every campaign through the month, move the budget to the clips locals save and share, and switch off what is not working. The budget itself is spent from your own ad account, so you see every dollar. Our guide to what Facebook ads cost a restaurant shows how to judge it.

Every day of the month: the replies

Good marketing makes the phone ring, the inbox fill and the messages stack up. If nobody answers, the money spent bringing those people in is wasted, and a party planner who waits a day has usually booked somewhere else. For restaurants that sell private events, we install an AI event manager that answers every party inquiry in minutes on the website chat and in Instagram and Facebook messages, using your real rooms, capacities and dates.

It asks the questions a host would ask, captures the date, the headcount and the room, and keeps following up until the date books. The moment someone wants to book, your team takes over. Pricing, invoices and agreements stay in your hands, and deposits are paid online, straight to you. It is part of the 7-Figure Private Events System, and our private events guide walks through the same steps for any restaurant with a room to sell.

The last week: the report and next month

At the end of the month you get the numbers a restaurant can bank: reservations, online orders, party inquiries and bookings, and visits, each traced back to the ad or page that brought it in, set next to what the ads cost. Followers and views appear only when they turned into one of those. For a weeknight offer, the number that matters most is that night's sales, set against the same night in the weeks before it started.

Then we sit down together and decide what the next month is for. Push the offer that worked harder, retire the one that did not, plan the shoot around the next season's menu. That is the whole rhythm: shoot, offer, ads, replies, report, repeat. If you want to size the ad budget before the first call, our guide to setting a marketing budget starts from what one party or one busier night is worth to you.

What five months of that rhythm looked like at home

We ran this rhythm at our own beer garden before we sold it to anyone. From May 1 to September 30, 2026 it took 1,163 party inquiries and booked 281 parties, worth $326,963 in booked event value. The months were not even, and the chart above shows why the monthly report matters. May brought 211 inquiries and 63 bookings. June and July were quieter, at 194 and 179 inquiries. August climbed to 241, and September set the record, 338 inquiries and 83 parties booked.

Each party is counted once, in the month it first inquired, through any channel, and a party booked directly on the website counts as one inquiry and one booking. The full case study lists every month and how each number was counted. If you would like to see results from other restaurants first, our fit checklist lists every one we have published, one line each.

Where we work: on site nationwide, aimed locally

Our home base is our own restaurant on New York's Lower East Side. Our photo and video teams shoot on site across the country, and every campaign is drawn around the few miles your guests come from. Each city has its own calendar, its own crowds and its own reasons people go out, so each city page covers what marketing a restaurant there actually involves.

• New York City: the city we own a restaurant in, where the visitor calendar and the regulars pull in different directions.
• New Jersey: separate downtowns, BYOB rooms, a short Shore season and party rooms filled by the commuter crowd.
• Washington, DC: the office crowd came back, with after-work planners to reach and an August lull to plan around.
• Miami: a dry season and a wet one, event weeks, several languages and neighborhoods that each eat differently.
• Fort Lauderdale: snowbirds, cruise guests and locals, reached in a dry winter and a wet summer.
• Orlando: openings and delivery, and the gap between the visitor corridor and the neighborhoods locals eat in.
• Tampa: a front-loaded year, from Gasparilla season into the State Fair, with groups booking around parade weekends.
• Oklahoma City: a driving city, where the weekend plan is made before anyone gets in the car.
• Austin: huge festival and game weeks, and a long summer that moves brunch earlier and dinner later.
• Chicago: a short patio season, then a long winter, with the money planned month by month.
• Los Angeles: a city won a few square miles at a time, with drive time as the ad radius.
• Seattle: gray months and a bright cruise window, with warm content that beats a dark feed.