"How do you make it happen? You call the world's biggest media companies and you ask them questions," said Hochman.

You also pitch your product, who may be your husband.

Bradley pitched Hochman, her husband, as an on-camera expert for the X Games on ESPN, a huge competition for extreme sports. Hochman is the director of ski testing at SKI MAGAZINE and had already appeared on dozens of video segments produced by their infant company.

They got shot down.

"Paul doesn't look the way people think he should. He's supposed to look like a Norse god, tall, blonde, square-jawed. But hey, if they're not smart enough, NBC is doing something called the Gravity Games," Bradley said.

Bradley had the nerve to pick up the phone and call David Michaels. "He's god at NBC Sports," Hochman explained.

Hochman got the emcee job. Building on that first connection with the network, according to Bradley, "That's how we went from 'nap-time productions' to NBC World Sports."

"With six cameras, a jib, six world-class shooters and a truck," Hochman chortled happily.

Serious Fun Productions turns out top shelf winter TV programming from a modest house on a side street in Lexington. As we spoke about the growth of the business the meaning of Bradley's joke about 'nap-time productions' becomes obvious. The signs of children are everywhere. An au pare vacuums in the dining room where toys are stacked four feet up the walls and a cardboard Michael Jordan leans against a window. In fact, Bradley left her position as an art director at Young & Rubicam, a Manhattan advertising agency, to have Lily and Carter, now 4 and 6, and started the production company so she could stay at home to raise them.

No one knew that Serious Fun was a one-and-a-half person company. Bradley and Hochman also realized they had to have chutzpah.

"In addition to quality, great videography starts with the statement, 'Why not?' It sounds like Dale Carnegie and it makes me want to throw up, but so much great work doesn't get done because people think they're not worthy," Hochman said.

"Don't take no for an answer. No means not right now," Bradley added.

"And don't think, 'Oh, they're so big!'" Hochman cried, bouncing in his chair.

And don't think the project is too big. One video the couple produced for Resort Sports Network used a NASCAR racing car to teach good ski technique. Another segment involved skiing on a Malibu beach. But the project that took the grand prize for chutzpah was shot for the TODAY SHOW and involved building a ski mountain in the heart of Manhattan.

"I knew how it would work, the snow part, and Trish knew how to make it work visually, so the entire production involved building a mountain of snow in Rockefeller Plaza," Hochman said.

Bradley knew how to make the shoot work after another attempt at the same stunt had failed miserably. Most of their work, though, is smaller in scope and every decision, even the smallest, count heavily in the outcome.

"If you can afford only two things, have a great shooter and a great lighter. That made our production values so much better," Bradley said.

The producer who learned her chops as an art director at Young & Rubicam had producers and directors working for her. Now she finds that she has those jobs and relies on Tucker Hemberich and Sam Patton, their lighting designer and camera operator, to keep their production values high.

Marion Danes of MAD Productions does all their cutting. "Editing can make or break a piece. She's really good. You don't have to explain the joke to her," Bradley said.

"She's artistic while we're autistic," Hochman joked.

Hochman's wit extended to a discussion of what set the work of Serious Fun Productions apart from other companies putting out winter programming.

"In a minute to three minutes, we tell stories. We try to have a through-line. We don't do eye candy, we do stories," Hochman explained.

After training for 10 years as a ski racer, becoming the technical editor at SKI MAGAZINE and writing freelance articles for NATIONAL GEOGRAPHIC ADVENTURE, MEN'S JOURNAL, GQ and The Wall Street Journal, Hochman knows that plot is an essential ingredient in successful writing and video.

"There's lots of pretty things out there to catch people's attention, but very few good stories. So if you tell a good story you've gone a long way toward differentiating yourself from all the pretty pictures out there," he explained.

Hochman quit his job at Young & Rubicam after he sold a screenplay to a major studio. He then quit screenwriting to pursue magazine writing, a goal he also achieved. Now he's learned that a language person who may not be a visual genius can still produce excellent videos.

He explained, "You don't know why the images are interesting, but you know it affects you. So if you combine great videography with an art director who makes sure the image is filled - there's no wasted space in the scene - and someone who's used to telling stories, you're jamming a lot of stuff into a small space."

The au pare shuts off the vacuum cleaner, a reminder that running a business while raising children is expensive. Their ability to do both indicates that Bradley, Hochman & Co. have learned that video production is a business, and success in the business requires more than shooting good footage.

It's called the Oprah Model.

"One business lesson we've learned is, 'Own your own programming.' If you own your own show you're growing huge potential equity," Bradley said.

Another major source of income for the company is product placement. Their sponsors have included Columbia Sportswear, Carrera, Leedon, TAG Heuer and Motorola. Their largest client, AOL, was also their first, an indication that Bradley and Hochman have built their company out of pure chutzpah.

"What differentiated us, along with the quality," Bradley said with a knowing nod, "was the ability to think boldly and big."