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GullySystem
Media · Software for ad-film companies

Take a commercial from the agency brief to the approved cutdowns and a closed job cost.

An ad-film company bids on briefs from agencies and brands, shoots in a few days, then spends weeks on edit versions and approvals. Bids, costs, talent terms and deliverables live in separate files. The product holds each job from brief to final invoice.

At a glance

A commercial shoots quickly but bills slowly. Margins are thin. The brief arrives from an agency, the producer prices it, the director pitches a treatment, and the shoot lasts a few days. Then come edit versions, client changes and delivery in many lengths. Each adds cost.

Money moves in stages across the job. The bid, the awarded figure, supplier bills, talent usage terms and the final invoice are held by different people, usually in different files. Nothing lines up.

How the work runs today

The executive producer receives the brief and the producer builds a costed bid with a line for the director, crew, equipment, locations, casting and a contingency. Once the job is awarded, the production manager books crew and kit, orders the set build, and runs the pre-production meeting with the agency and the client. Dates are fixed there.

Shoots are short. The shoot is planned day by day with call sheets, location permissions and talent bookings. Casting sessions, wardrobe and set build are recorded. Each booking carries a day rate. After wrap the editor produces the first cut, and the agency returns rounds of changes before the client approves.

Delivery is the last step. It means the master, cutdowns of different lengths for television and online, and clearance papers. Talent buyout terms set how long and where the spot may run, and extensions are billed later. Suppliers are paid against the job’s cost sheet. Accounts wait on it.

Where it breaks

What goes wrong for ad-film companies without a proper system.

Bids are not compared with the final cost

The awarded figure sits in an email, the supplier bills arrive in another inbox, and the director’s fee is recorded in a third place that accounts never see. The true margin is learned when the job is already invoiced. Too late.

Talent usage terms are lost

Term, territory and media for each performer are written on a release. When the client asks to extend a run, someone has to search for the paper. It takes time.

Edit rounds are not counted

Agency changes arrive by email, call and review link. No one can tell which review rounds were priced into the quote and which were given away to keep the agency happy. Disputes follow.

Cutdowns multiply without a list

One spot becomes lengths for several channels and languages. Lists drift. The editor and the producer keep separate lists of what has been approved.

Supplier bills trail the shoot

Equipment hire, catering and location fees come in after wrap. They are matched to the job late, and some are missed in the final cost. Margin drops.

What the software does

What we would build for ad-film companies.

Named the way your team already talks about the work. We start with whichever part the audit shows is costing you most.

Brief and bid register

Record each agency brief against its deadline and the person who sent it, price the bid line by line, and keep every revised version with the pitch outcome.

Job cost sheet

Set the awarded budget by cost line, record supplier orders and bills against each one as the shoot runs, and show the producer’s margin as the job progresses toward wrap.

Treatment and director roster

Hold each director’s reel, availability and fee, with the treatments sent to the agency for each brief.

Casting and talent usage terms

Record auditions, selections, fees and the term, territory and media each performer was booked for.

Shoot plan and call sheets

Schedule shoot days with locations, crew and kit, then issue the call sheet and note the day’s overtime.

Edit versions and client approvals

Count each round of changes, keep the agency’s notes against the cut they refer to, and record which version the client finally approved and on what date.

Cutdowns and delivery list

List every length, ratio and subtitle version promised for each broadcaster or online channel, then tick each one off as it is delivered with its clearance paper.

Before you talk to a supplier

A requirements checklist for ad-film companies.

What to cover, which reports to ask for and what to put to every vendor, ready to print or save as a PDF.

Open the checklist
Ready product

A product already built for ad-film companies.

It is adapted to how your business works before it goes live, and anything your trade needs that it lacks is added then.

Ad-film Company Management Software

Briefs and bids, job budgets, crew and kit booking, casting, talent usage terms, edit rounds, cutdowns and supplier bills for ad-film companies.

See the product
Solutions inside

The business modules ad-film companies use most.

Each one is also available on its own, or inside a system built for you.

How it works

How the work runs from Bengaluru for your city.

  1. 1

    The audit, by call

    A screen-share and a look at the sheets, accounting reports and WhatsApp groups your team uses. No travel needed.

  2. 2

    A written proposal

    Scope, what we build first and the cost, agreed in writing before anything starts.

  3. 3

    Build in short rounds

    Working screens shared every few weeks. Your team tests them from your own office.

  4. 4

    Go-live, in person when it helps

    For data migration and training we can come to your city. Travel is agreed in advance.

  5. 5

    Support online

    Fixes, changes and hosting handled remotely by the same team that built it.

Common questions

Questions ad-film companies ask before they call.

Can it handle the bid before a job is awarded?

Yes. The costed bid is built line by line and kept with each revision. When the job is won, the agreed figure becomes the budget that supplier bills are checked against.

How does it keep track of talent usage rights?

Each performer’s term, territory and media are stored with the booking. A list of buyouts ending soon helps the producer raise extensions with the agency before the spot runs out.

Do we need it if we only make a few films a year?

Possibly not yet. If you shoot only a few commercials in a year, a cost sheet and a shared folder may be enough for now. It pays off once several jobs run at once and bids overlap with shoots.

What decides the cost?

Cost moves with the number of jobs open at once, the producers who log in and any link to your accounts package. Screens come first, then the proposal.

What happens after I share my requirements?

An engineer reads what you send and replies within one business day. We then look at the software, spreadsheets and WhatsApp groups your business runs on today and write down what works, what slows your team down and what is missing. A demo login, a screen-share or a few screenshots are enough. You get a short written summary ordered by priority, with no obligation to hire us afterwards.

How much will the software cost?

We don’t publish a price, because it depends on what the system has to do. That first review settles the scope, and the cost goes into a written proposal before any work starts.

Category

Part of a wider group.

Talk to us

Tell us how your business runs today.

A few lines on your spreadsheets, software and WhatsApp groups is enough. We reply the same working day.

  • No obligation
  • A reply within one business day
  • Your details stay private

Start with your requirements

Seven short steps that tell us what you need. An engineer reads them before getting in touch.

Share your requirements