We write it, produce it, and run it on premium streaming networks — aimed at the households you actually want, and reported back as people who watched the whole thing and then came to your site. One team for the commercial and the airtime, because handing those to two companies is how brands end up with a beautiful film nobody sees.
United States. No long contract. You approve the commercial before a cent of media is spent.
Where the spot runs
Premium, fully episodic, non-skippable inventory — the shows people actually sit down for, on 150+ networks. Not pre-roll. Not a banner. The ad break.
Network names are shown as a description of the inventory pool, not as an endorsement. Which networks a given flight actually lands on depends on the audience, the budget and what is available that week — and you get the list, per network, in the report.
How it works
This is the order it happens in. Nothing below can start before the thing above it, which is why it is numbered — the only step with a queue is the one where you watch the cut and say yes.
Your site, your customer list, your best-selling products and the places you already win. That becomes an audience: households with the intent, plus everyone who has been on your site recently, plus wherever you want it geographically — a state, a metro, a set of ZIP codes. You do not need a data team. You need to tell us who buys from you.
Script, voiceover, motion, grade, and a version built to the exact technical standard television accepts — which is narrower than most people expect. You get a :30 and a :15 cut from the same idea, because the short one is what keeps running once the budget tightens.
You watch it, you mark it up, we recut. Nothing goes to air and no media is bought until you have signed off the cut. This is the only step that waits on you.
We launch the flight, set the pacing and manage it daily — budget, frequency, which networks are working and which are quietly wasting money. You are not asked to log into anything or learn a bidding console.
Not "impressions delivered." Completed views, the people who watched the whole spot and then arrived at your site, what they did when they got there, and the cost of each one — per network, per week.
The commercial
A production house quotes weeks and five figures for a thirty-second spot, the project stalls, and the media budget goes back to search. We make the commercial in-house, on the same system we run the campaign from, which is why the two halves of this never disagree with each other.
Your brand, your offer, your footage if you have it — and generated production if you do not.
Television rejects files for reasons no social platform cares about. Ours are built to the spec before anyone sees them.
A commercial that ran all year stops working long before anyone notices in the numbers.
What we can prove
That is the part that changed, and it is the only reason this is worth doing for a business your size. Here is exactly what gets counted, in plain terms — and, just as importantly, what does not.
The inventory is non-skippable, so a completed view is a person who sat through all fifteen or thirty seconds. That is the number we optimise against, not a two-second impression.
When someone in a household that saw your spot arrives on your site inside the attribution window, that visit is matched back to the ad. You see how many, from which network, and what each one cost.
A slice of the matched audience is deliberately held back and not shown the ad, so the campaign is measured against people just like your buyers who never saw it. That is the difference between credit and lift.
Nobody can prove a television ad caused a specific sale the way a click can. We report what was watched, what it cost and what happened afterwards — and we tell you which of those is correlation.
This is not a swap for your search budget. It is the channel that makes the rest of it cheaper, because people who have seen you on television behave differently when they meet your name again.
The unglamorous part
Published here because it is the thing that trips up every brand that tries this with a file they already had. If you want to send us your own commercial, this is the bar it has to clear — and if it does not, we will fix it rather than send you away.
| Requirement | What it has to be | Why |
|---|---|---|
| Duration | exactly 15s or 30s | Ad breaks are sold in fixed slots. A 31-second file is not a long ad, it is a rejected one. |
| Aspect ratio | 16:9 | It is a television. Vertical and square do not air. |
| Resolution | 1920×1080 or higher | Anything softer is obvious on a 65-inch screen two metres away. |
| File | .mp4 or .mov | Broadcast-safe containers only. |
| Frame rate | constant — 23.98, 25 or 29.97 | Variable frame rate is the single most common rejection. Screen recordings and phone exports are usually variable. |
| Bitrate | 15–30 Mbps | Too low and the grade falls apart in motion; too high and it will not ingest. |
| Audio | AAC, present | A silent file fails automatically, every time. |
| Safe area | Logo, offer and URL away from the edges | Overscan still exists on real sets, and a URL clipped in half converts nobody. |
Questions we get asked
Answered plainly, including the two answers that lose us work — because finding out on call one is cheaper for everybody than finding out in month two.
Three separate costs: producing the commercial, managing the campaign, and the airtime. We quote all three separately rather than as one blended number, and we build the figures for your brand — airtime is priced on the audience you want and the week you want it, so a rate card on this page would be a guess about you.
No, and most brands do not. We write and produce it — script, voiceover, motion and grade — and you approve the cut before a cent of media is bought. If you already have one, we check it against the broadcast spec and fix it rather than send you away.
Completed views — the ad cannot be skipped, so we know who watched all of it — and matched visits, the households that saw it and then arrived on your site. A slice of the same audience is held back and never shown the ad, so you can see the difference. Nobody can prove a specific airing caused a specific sale, and we will not claim it.
In the ad break of premium, fully episodic streaming programming across 150+ networks. Not pre-roll, not display. Which networks a flight lands on depends on the audience and the week — you get the actual per-network list in the report.
Yes — nationwide, a state, a metro, or a set of ZIP codes. That is why this works for home services, multi-location retail and clinics, not only national brands. Delivery is United States only: fifty states, no territories.
Advertisers outside the US, anyone who needs to buy a specific time of day, and restricted categories — tobacco and vaping, weapons, adult, counterfeit goods, non-compliant gambling, and political or issue advertising.
Get a plan
Every plan is built for the brand it is for — the audience, the geography, the length of the first flight and what the commercial needs to be. There is no rate card on this page because a real one would be a guess about you.