Nobody browses the pool. The agent reads your statement, your medium and your style against a brief and puts three names in front of a brand. Everything it can say about you comes from what is written on your profile — an empty style field is not neutral, it is a match that never happens.
DoWrite style as operations: lens, light, cut, palette. Not adjectives.
A reel of everything says you will shoot anything. The pool rewards the opposite: a small set where every piece is the same person making the same decisions. Pick the six that argue for one way of working, and let each one carry a line about what it actually is.
DoCut a work if you can't say in one line why it is on the list.
You never quote against a blank page here. A match comes with the fee, the deliverables and the date already on it, because a brand that has not decided what it will pay has not finished writing the brief. You are deciding whether to take it, not what to charge for it.
DoRead the fee and the date first. If either is wrong, decline early.
Every brand here has a written model — tone, palette, product truths, the six things legal will not allow. It is attached to the brief and it is the thing to argue with. If the model says something about the brand that is wrong for the work, say so before you shoot, not in the edit.
DoOpen the brand kit before the first setup. Note anything you'd break.
Options are a way of asking someone else to direct. Send the cut you would defend, with a line about what you decided and why. If a second version is genuinely a different idea rather than a hedge, it is a second submission and it gets its own line.
DoEvery submission carries one sentence of intent. Write it before you upload.
A film that has to be re-cropped by whoever receives it arrives worse than it left. Export at the ratios on the brief, keep the audio bed separate where you can, and name the files the way the brief names the deliverables.
DoMatch the ratios and the filenames on the brief exactly.
What is on the match is what is paid, and a round of notes is part of it. A change that makes it a different piece of work — new shoot, new cast, new location — is a new brief with a new fee, and it goes through the agent rather than through a conversation.
DoIf a note means reshooting, stop and send it back through Salvo.
Brands see the work and the fit. They do not see your rate history, your other briefs, your email or your phone. Every approach comes through us, which is also why declining a brief costs you nothing — there is nobody on the other end to have annoyed.
DoDecline the ones that aren't yours. It doesn't count against you.