TV Commercial Production for Manufacturing

01

Manufacturing context

Discrete and process manufacturers proving capability to procurement teams.

For manufacturing teams, TVC production sits inside an approval chain, not outside it. EHS clearance and hazard-zone filming protocols. We build that into the schedule rather than discovering it at the sign-off stage.

• Plant capability films — briefed, scripted and delivered as a distinct asset rather than a cutdown afterthought.
• Process animation — briefed, scripted and delivered as a distinct asset rather than a cutdown afterthought.
• Safety inductions — briefed, scripted and delivered as a distinct asset rather than a cutdown afterthought.
• Trade show loops — briefed, scripted and delivered as a distinct asset rather than a cutdown afterthought.

02

What good looks like in this sector

Capability films reduce the number of physical plant audits requested.

Every engagement begins with a working session, not a rate card. In manufacturing, 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.

Every engagement begins with a working session, not a rate card. 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.

• 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.
• 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.

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 manufacturing projects in Mumbai

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

• Fort (South Mumbai) — Heritage architecture and the original financial district. Heritage precinct shoots need MHCC clearance for rigs.
• Colaba (South Mumbai) — Hospitality, heritage and tourism-facing brands. Gateway precinct filming needs police and tourism NOC.
• Powai (Eastern Suburbs) — Tech startups, R&D centres and a European-looking streetscape. Estate permission is issued by the Hiranandani facility office.
• Goregaon East (Western Suburbs) — Film City studios plus the Nesco exhibition complex. Film City bookings run through the Dadasaheb Phalke office.
• Malad West (Western Suburbs) — IT parks and BPO campuses with in-house auditoria. Mindspace requires a security-cleared crew list.

08

Five ways manufacturing 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.