Long before she could book a content creator through an app, Lisa Jammal was the friend who brought the camera. At high-school parties, she carried a camcorder and made videos for her friends. Years later, the request was still arriving: could she come to a birthday and take the pictures? A party changes considerably when the person who usually records it would rather join in.
That small social arrangement sits beneath Jammal’s larger business story. She is the Los Angeles founder and CEO of Social Intelligence Agency, and co-founder and CEO of Social Agent, an app connecting people and businesses with content creators. Her career runs through entertainment publicity, live events and the growing work of producing material for social platforms. Along the way, an old favor between friends has acquired booking software.
The appeal is easy to picture. Someone hosts the dinner, arranges the flowers, welcomes the guests and then spends the evening attempting to photograph all three. Later, the camera roll contains evidence of an occasion its owner barely attended. Jammal’s business gives that familiar division of labor a price, a schedule and a person whose job is to notice.
A camcorder before a business plan
Jammal graduated from Gilroy High School in 1999 with Hollywood on her mind. Her bedroom had movie posters; she collected clippings about performers. Her mother, Evelyn, suggested public relations. Jammal went on to Loyola Marymount University and studied entertainment PR through UCLA Extension. Internships took her into talent management, publicity and events. She launched LJAM PR in 2007. An assignment covering a Kiehl’s Earth Day event in Santa Monica helped inspire The Tweet Squad in November 2011; she renamed it Social Intelligence Agency in 2014.
Those steps describe an education in proximity. Publicity requires getting close enough to understand what is happening while remembering that access comes with obligations. Events add another complication: the useful moment has a short working life. A camera operator, publicist and host can look at the same room and see three entirely different jobs. Jammal’s subsequent businesses bring those jobs into conversation.
Even her college activity has a pleasing continuity. On LinkedIn, she recalls having an hour on LMU’s campus radio during her sophomore year. There is something fitting about an early slot built around a microphone and an audience. Before the app and the agency, there was already an interest in being part of how a moment reached other people.
The publicist inside the social post
By 2025, Jammal’s work included social strategy and production connected to Disney, the Recording Academy, the Grammy Museum and the Television Academy. The Grammys and the Emmys are useful places to understand her specialty. A live event offers plenty to record, along with plenty of people who have an opinion about what should be recorded. Getting material out involves judgment as well as a functioning phone.
The visible result may be brief. The professional work includes recognizing a worthwhile exchange, framing it, understanding its audience and knowing the limits of the permission to share it. An awards show supplies unusually conspicuous examples, but the underlying problem travels. A restaurant opening or a small business launch also needs someone who can distinguish an interesting moment from a room full of activity.
Jammal’s agency identity makes that coordination sound rather more entertaining than a production spreadsheet. She adopted spy language, called her staff agents and gave herself the codename LJAM 007. The joke suits work that often happens around the edges of the main attraction. A little theatricality is useful in a profession whose successful efforts frequently disappear into somebody else’s feed.
The birthday-party brief
In a December 2025 podcast conversation, Jammal connected the new venture to two kinds of experience: producing social content professionally and being asked to photograph friends’ lives. She recalled the Recording Academy work as a period when video became a larger part of her agency’s service. Meanwhile, friends wanted the same attentiveness at occasions far removed from an awards-show floor.
That is an instructive route into a product idea. A friend asking for party pictures probably has little interest in a production proposal. The request arrives in ordinary language, often at short notice. It reveals a service people can describe immediately, even if they have no established way to buy it. Jammal had been hearing a version of the customer brief socially.
A June 2025 conversation with Rachel Jo Silver on Love Stories Radio explored applications ranging from weddings and children’s birthdays to restaurants and real estate. The variety matters. These customers have different reasons to want images, but they can share a practical problem: the person responsible for making something happen also wants a record of it. Hiring help changes who gets to participate.
Putting the favor on a schedule
Social Agent’s official public launch came on September 26, 2025, following beta testing. Jammal built it with Brooke Levy, the company’s president, and Jeff Tobler, whose work includes brand and strategic development. At launch, in-person capture was available in Los Angeles, while customers nationwide could submit their own footage through a service called You Upload, We Edit.
The launch offer started at $65 for a 30-minute session and $30 for editing. Creators used iPhones, and the company advertised on-demand arrival within 30 minutes and edited material within hours. Those were specific service promises attached to the launch, rather than a vague invitation to hire creative help. A prospective customer could begin with the amount of time they needed.
The choice of device fits that proposition. A phone can move through a dinner or a shop opening without turning the occasion into a conspicuous production. It also produces material intended for the place many customers will eventually publish it. The commercial bet is that useful, timely footage can justify paying another person to handle a task the customer technically knows how to do.
By November 2025, reporting on the app described a middle ground between doing everything yourself and commissioning a full production crew. The founding team brought different experience to that space: Jammal’s content work, Levy’s background in corporate law and strategy, and Tobler’s communications career. For an app arranging visits by real people, the operation behind the booking screen matters as much as the screen.
A human turns up
Jammal’s stated ambition is to make content creation accessible while keeping human attention in the process. That gives Social Agent a particular place in conversations about automation. Software can arrange a booking and move files. Someone still has to enter the room, understand the occasion and decide where to point the camera. The company sells that person’s presence as part of the product.
“AI can deliver quick solutions, but so can we, with the added value of human creativity, storytelling, and connection.”Lisa Jammal
Her advice to other founders is equally practical: begin before everything feels settled, then pair the idea with disciplined decisions. She speaks about persistence and choosing people who believe in both the founder and the business. That distinction has substance. Enthusiasm for a concept is pleasant company; helping turn it into a dependable service requires a longer attention span.
She has also described a preference for documentary-style storytelling. In a founder Q&A, she argued for material that feels immediate and rooted in an actual experience. It is a creative preference with operational consequences. If the desired result depends on catching what happens, the creator needs to be available when it happens. A booking system becomes part of the storytelling equipment.
That emphasis also explains why the work reaches beyond a single kind of event. A business may need a short video to show customers what it does. A family may want a record without appointing one relative to disappear behind the phone. The footage serves different purposes, but both customers are buying another person’s time and attention. Jammal’s experience gives her a way to recognize the overlap without pretending the occasions themselves are interchangeable.
Eleven markets, one familiar request
In its first-anniversary update, Social Agent reported 11 U.S. markets, more than 65,000 app downloads, over 400 certified agents and nearly 300,000 photos and videos captured. Jammal shared the figures while thanking Levy, Tobler and the team. These are company-reported milestones. They describe an operation that has moved beyond its original Los Angeles launch and now needs to reproduce the experience across cities.
Company-reported first-anniversary figures, 2026.
Expansion makes the old favor harder to deliver consistently. Friends choose Jammal because they know her eye and trust her company. A new customer in another city books someone they may never have met. The business has to carry enough of that confidence through its selection, training and delivery. Growing the number of available creators is only one part of making the arrangement work.
For Jammal, the thread remains unusually personal. The camcorder, the publicity work and the app all concern who notices what is happening and makes something of it afterward. She has spent years helping other people appear in public. Her newer proposition lets customers appear in their own memories, too. The friend who used to take all the pictures has built a way to hand over the camera.