TV Commercial Production for Government and PSU

01

Government and PSU context

Public sector bodies and PSUs reporting to citizens and ministries.

For government and psu teams, TVC production sits inside an approval chain, not outside it. Departmental approval chains and tender compliance. We build that into the schedule rather than discovering it at the sign-off stage.

• Scheme explainers — briefed, scripted and delivered as a distinct asset rather than a cutdown afterthought.
• Annual review films — briefed, scripted and delivered as a distinct asset rather than a cutdown afterthought.
• Field documentaries — briefed, scripted and delivered as a distinct asset rather than a cutdown afterthought.
• Training modules — briefed, scripted and delivered as a distinct asset rather than a cutdown afterthought.

02

What good looks like in this sector

Regional-language versions determine actual reach for public schemes.

Production is the easy part; agreeing what the film must achieve is the work. In government and psu, the most common failure is a film that is technically excellent and commercially silent — beautiful footage that never states the proposition. We test the script against the buying decision before the camera is booked.

03

What tv commercial production actually involves

Full-service TVC production from storyboard through TAM-compliant broadcast delivery.

Production is the easy part; agreeing what the film must achieve is the work. For TVC production, that means deciding early whether the film is doing persuasion work, explanation work or proof work — because those three jobs need different structures, different running times and different crews.

A typical engagement runs 6-10 weeks and is delivered by ad film director, ep, dop, production designer, stylist, vfx supervisor. The technical package is built around alexa 35, angenieux zooms, technocrane, motion control, scaled up or down against the brief rather than the invoice.

04

What you receive

Deliverables are agreed in writing before the shoot, so nothing is negotiated after the fact. The standard package for TVC production includes:

• 30s and 20s TVC masters
• 10s edits
• Broadcast QC files
• ASCI-checked scripts

05

How we run the project

Six stages, each with a named owner and a dated checkpoint.

• Pre-production: Recce, permissions, casting, art direction and a call sheet issued 72 hours ahead. Everything that can be decided before the shoot day is decided before the shoot day.
• Production: A crew sized to the brief. We shoot to the edit, capture protection coverage, and review selects with you at wrap.
• Post production: Offline cut, client review, online conform, colour grade, sound mix and graphics. You see the film at rough cut, fine cut and final.
• Delivery and measurement: Platform-specific masters, captions, thumbnails and an asset index. We review performance after 30 days and feed it into the next brief.
• Discovery: A 90-minute session with the people who own the outcome. We leave with the audience, the proposition and the single action the film has to drive.
• Strategy and script: A written treatment and shooting script, reviewed against the brief. Two revision rounds are built into the schedule so feedback does not delay production.

06

Investment and what moves the number

TV Commercial Production projects typically sit between Rs 25L - Rs 2Cr. The variables that move that figure are crew size, number of shoot days, cast and location fees, and the depth of post production.

We quote in three tiers against the same script so you can see exactly what an extra day or an extra grade session buys. What we do not do is win the brief on price and rebuild the margin through change requests.

• Included as standard: a locked shooting script before any kit is booked.
• Included as standard: day-rate transparency with no post-shoot surprises.
• Included as standard: footage backed up in triplicate before the unit leaves site.
• Included as standard: colour and audio finished in a calibrated suite, not on a laptop.

07

Where we film government and psu projects in Mumbai

Sector sites cluster in specific pockets of the MMR, each with its own access process.

• Yari Road (Western Suburbs) — The working core of India's screen industry — casting, crew and post within walking distance. Anchored around Yari Road studios. Demand runs to explainers, training modules and investor-facing films. Society and lane filming needs a written NOC from the building committee.
• Aram Nagar (Western Suburbs) — The working core of India's screen industry — casting, crew and post within walking distance. Anchored around Aram Nagar Part 1. Clients here commission campaign films, retail loops and category videos. Society and lane filming needs a written NOC from the building committee.
• Four Bungalows (Western Suburbs) — Neighbourhood retail, clinics, schools and family-run businesses. Anchored around Four Bungalows market. The mix leans towards documentary-style films, culture content and CSR stories. Society NOC for interiors and ward permission for street-level exteriors.
• Seven Bungalows (Western Suburbs) — Neighbourhood retail, clinics, schools and family-run businesses. Anchored around Seven Bungalows junction. Work here is usually process films, safety content and trade-show loops. Society NOC for interiors and ward permission for street-level exteriors.
• Madh Island (Western Suburbs) — Coastal frames, beach-facing hospitality and lifestyle brands. Anchored around Madh Fort. Requests cluster around leadership interviews, annual films and internal comms. Beach and promenade filming needs the local ward office plus lifeguard coordination.

08

Five ways government and psu TVC production projects go wrong

Most failed video projects fail for the same handful of reasons. These are the ones we plan against.

• Briefing a format instead of an outcome: Asking for a two-minute corporate video is a specification, not a brief. Start from what has to change in the viewer's mind.
• Approving a script by committee: Every extra approver adds a message. Nominate one decision maker and let them arbitrate.
• Shooting without a distribution plan: A film with no media plan and no owner on the marketing side quietly dies on a shared drive.
• Underestimating audio: Viewers forgive soft focus. They abandon a video with bad sound within seconds.

09

Working with us

We are a Mumbai production company that works to a written scope, a fixed schedule and an agreed deliverable list. Briefs come in from marketing heads, founders, HR leads and agency partners, and all of them get the same first step: a conversation about the outcome.

If a video is not the right answer, we will say so. That has cost us projects and won us clients.