Get connected with the right commercial production partner.
We screen thousands of production companies and introduce you to the one that fits what you are making.
Thousands of shops in, one introduction out.
Live-action, post and editorial, animation, music and sound, VFX. We work the market where the trade actually looks — AICP, LBB, Free The Work, Production Paradise — and read shops against what a campaign needs rather than against a category tag.
Then you get one. Not a list of eleven to sort through, and no bid process to run.
If we do not have the right shop for the brief, we say so instead of sending a near-miss.
Everyone says vetted, so here is ours. It is a definition, not a badge.
The test is who commissions the work, not what gear is in the building.
| Lane | Who is on the other side | State |
|---|---|---|
| Live-action commercial production, US | Commercial production companies | Open |
| Post, editorial, finishing | Post houses, editorial | Open |
| Music and sound design | Music houses, audio post | Open |
| Animation | Animation studios | Open |
| VFX | VFX and finishing | Open |
| Live-action commercial production, UK | APA-side production | Open |
We do not take the brief and we do not creative-direct.
We do not shoot anything. Nothing to upsell you into.
No login, no search box, no paid placement.
Your brief does not go out to eleven shops to see who bites.
Something dated and public happened at your company, and it is the reason we reached out.
An agency win. An ambassador signing. A launch date. A rebrand. A round closing. A new marketing lead in the seat. We read the trade press every morning looking for exactly those, because production gets awarded in the two weeks after one of them lands — and we do not reach out without one.
If what we named is wrong or already handled, say so in one line and we will stop. That is a real answer, not a brush-off.
| What we watch for | Why it means production is moving |
|---|---|
| Agency roster or AOR change | New creative team, new production shortlist, decided fast. |
| Ambassador or partnership signing | A shoot is already being scheduled around the talent's window. |
| Rebrand or identity relaunch | Everything that appears on camera gets re-shot. |
| Product or collection launch | Launch film, spots, and the social cutdowns underneath them. |
| Funding round | Brand spend unlocks, usually inside a quarter. |
| New CMO or Head of Brand | A first-campaign mandate, and an open mind on vendors. |
| Tentpole or seasonal campaign | Dated, recurring, and plannable a season ahead. |
| Hiring in-house content or production | A capacity gap you are already paying to close. |
Are you an agency?
No, and we do not produce. We make the introduction and then get out of the way. Once you are talking to the shop, you are talking to the shop.
We already have production partners.
Good, and most of these introductions are not for the work your roster already covers. They are for the job it is wrong for: a different format, a tighter window, a region your shops do not shoot. If the roster covers it, it covers it.
Who picks the shop?
We do, against your brief. That is the whole job, and it is why one name arrives instead of a list.
What if it is not a fit?
Tell us in one line. We would rather hear it than send a second near-miss, and it makes the next introduction better.
We are a production company.
Then you are the side we recruit, not the side we pitch. Send the reel and the kind of work you want more of to the address below and you go on the roster for it.
Tell us what you are making.
Format, rough window, rough budget band. That is enough to come back with a shop and a reel.