TV Commercial Production in Pune
Broadcast QC rejects on technicalities — loudness, legal supers, gamut — long before anyone judges the creative.
- Aspect ratio
- 16:9
- Typical length
- 10s / 20s / 30s
- From
- ₹2.5L+
- Platform
- Television
Mohammadwadi, Pune+91 93093 80958Mon–Sat, 9:30–19:00 IST
What are the specs for tv commercial production?
16:9, 10s / 20s / 30s, budget from ₹2.5L. Broadcast QC rejects on technicalities — loudness, legal supers, gamut — long before anyone judges the creative.
Rates reviewed August 2026
What is included, line by line
Each of these is a line on the quote rather than an assumption.
Delivery spec
- Broadcast master + MAM deliverables
- CAS/ASCI compliant supers
- Regional dubs
- Gamut-legal grade
What works
- Budget for QC and re-delivery
- Lock legal supers before the grade
- Deliver dubs in the same package
- Keep a 10s cutdown in the plan
Platform
- Television
- 16:9
- 10s / 20s / 30s
Band
- ₹2.5L – ₹25L
Getting the spec right
Broadcast QC rejects on technicalities — loudness, legal supers, gamut — long before anyone judges the creative.
Delivered to spec: broadcast master + mam deliverables, cas/asci compliant supers, regional dubs, gamut-legal grade. Format work fails on technicalities far more often than on creative — the wrong ratio, missing captions, a hook that arrives two seconds too late — so we build the delivery requirements into the shotlist rather than discovering them at export.
Budgets run ₹2.5L to ₹25L depending on volume and production value. Because television rewards consistency over one-off polish, most Pune clients get better results buying a batch from a single shoot day than a single expensive asset.
What this costs in Pune
Indicative bands. Final quotes are itemised line-by-line before anything is booked.
Essential
Single objective, tight timeline
- Single day of work
- Script + shotlist
- One master deliverable
- One revision round
- Standard grade & mix
Signature
Most briefedWhere most Pune briefs land
- Multi-day scope
- Full treatment & storyboard
- Broadcast master + MAM deliverables
- CAS/ASCI compliant supers
- Two revision rounds
- Colour grade + sound design
- Subtitles in two languages
Flagship
Campaign-scale rollouts
- Extended crew & art direction
- Talent casting & locations
- Broadcast master + MAM deliverables
- CAS/ASCI compliant supers
- Regional dubs
- Motion graphics package
- Regional language dubs
- Full asset library handover
An itemised quote, not a lump sum. You see every line — crew, days, locations, post — before anything is booked.
A written reply within 24 hours. A real scope and a real number, from the person who will run your project.
NDA before the brief, if you need it. Signed first. We shoot inside plants, R&D floors and pre-launch product rooms.
Nothing to pay to talk. Scripting direction and budget guidance cost nothing. You pay when dates are blocked.
The parts that decide the number
The technical spec for television is not a formality. Broadcast master + MAM deliverables. CAS/ASCI compliant supers. Regional dubs. Gamut-legal grade. Getting any of these wrong means the platform re-encodes, crops or normalises your file, and the version your audience sees is not the version you approved. We deliver platform-correct masters plus the source file, so re-versioning later does not require a new export from us.
Pune brands in this format typically fall into one of two mistakes. The first is treating it as an afterthought — cutting a vertical from a corporate film in the last hour of the edit. The second is over-producing a single asset and having nothing to follow it with. The correct approach is a planned batch from one shoot: one day, one crew, a month of scheduled output.
Measurement should be set before the shoot. For television, the meaningful signals are early retention, completion rate and the action taken after viewing — not raw view counts. We build the CTA and the end frame around the metric you name, and where useful we cut two variants of the opening so you can test which hook actually holds.
Included as standard, whatever the scope: broadcast master + mam deliverables, cas/asci compliant supers, regional dubs, gamut-legal grade. Each of those is a line on the quote rather than an assumption, because "full package" means nothing until someone writes down what is in it. If a line does not apply to your brief we take it off and the number comes down — that is the point of quoting this way.
Delivery runs 7-18 days with 3-8 crew involved, and the working budget sits between ₹2.5L and ₹25L. We hold dates only against a confirmed advance because those days are blocked for you, and we would rather tell you a date is gone than take the booking and quietly downgrade the crew.
How we approach Television work
- 01
Built for Television, not adapted to it
16:9 at 10s / 20s / 30s is designed into the framing on set. Cropping a horizontal master into this format is why so much branded content underperforms — the composition was never made for the frame it ends up in.
- 02
What actually works here
Budget for QC and re-delivery. Lock legal supers before the grade. Deliver dubs in the same package. Keep a 10s cutdown in the plan.
- 03
Volume beats polish
On Television, a consistent stream of well-made assets outperforms one flagship film. We plan shoot days to produce batches — same crew, same setup, many finished pieces — which drops the cost per asset sharply.
- 04
Itemised before it is booked
Crew, gear, locations, talent, travel and post are priced line by line. You approve the sheet before a single date is blocked, and any scope change is re-quoted in writing rather than appearing on the final invoice.
- 05
One accountable team
Script, shoot and post sit under one roof in Pune. There is no handoff gap where the idea quietly gets diluted, and one producer owns the timeline from the first call to the delivered master.
- 06
Permissions handled early
Site inductions, society approvals, mall and MIDC permissions and drone clearances are cleared before the shoot day rather than negotiated at a gate with a crew on the clock.
How we differ from a cheaper quote
Booked as a production unit
Framing
Shot natively for 16:9
Captions
Burned in and reviewed
Batch economics
Many assets per shoot day
Quote structure
Itemised, fixed before booking
Script ownership
Written in-house, signed before shoot
Finishing
Calibrated grade + designed sound mix
Revisions
Two rounds, timestamped review links
Typical freelance quote
Framing
Cropped from 16:9
Captions
Auto-generated or absent
Batch economics
One asset per engagement
Quote structure
Lump sum with variable extras
Script ownership
Client-supplied or improvised on set
Finishing
Preset LUT, music-only audio
Revisions
Email notes, unclear scope
Six stages, no surprises
- Stage 01Day 1-3
Discovery & brief lock
We sit with whoever owns the outcome — sales, HR, product or the founder — and get to what this has to change. The output is a one-page brief with one measurable objective, not a mood board.
- Stage 02Day 3-7
Script & treatment
A written script, a shot-by-shot treatment and reference frames for tv commercial production in pune. Nothing is booked until this is signed — the cheapest place to change your mind.
- Stage 03Day 6-10
Recce & pre-production
Location recce, casting, permissions, art direction and a timed shotlist. 3-8 crew are scheduled against that list so the shoot day carries no dead hours.
- Stage 04Shoot days
Production
We shoot for every deliverable in one pass — master, cutdowns and vertical crops — instead of returning for pickups and billing a second day.
- Stage 05Day 10-18
Post-production
Assembly, fine cut, sound design, colour grade and graphics. Reviews run on timestamped links with two structured revision rounds inside the schedule.
- Stage 06Final week
Delivery & rollout
Platform-correct exports, subtitle files, thumbnails and a short rollout note on where each cut belongs and what it is meant to do.
What to send with your first message
- 01A single, written objective — what should change after someone watches
- 02The person who signs off, identified before scripting starts
- 03Brand assets: logo files, fonts, colour codes, any existing footage
- 04Confirmed locations and the access window on each
- 05Two or three reference films you like, with reasons
- 06Target platforms and the aspect ratios they need
- 07Any compliance, safety or confidentiality constraints
- 08A realistic go-live date to work backwards from
Questions we get asked first
What does tv commercial production cost in Pune?＋
₹2.5L to ₹25L depending on how many assets you need and the production value. A batch of six to twelve pieces from a single shoot day is dramatically cheaper per asset than commissioning them one at a time.
What are the delivery specs?＋
Broadcast master + MAM deliverables, CAS/ASCI compliant supers, Regional dubs, Gamut-legal grade. We deliver the platform-correct master plus source files, so future re-versioning does not depend on coming back to us.
How long should the video be?＋
10s / 20s / 30s is the working range for television. Longer is possible when the content genuinely earns it, but the format's retention curve is unforgiving and most films are improved by being cut shorter than the client's first instinct.
Can this come out of an existing shoot?＋
Yes, if the shoot was planned for it — meaning the framing left room for the crop and the coverage supports a different edit. If it was not, the honest answer is that a reframed horizontal film usually looks like exactly that.
What does tv commercial production in pune cost in Pune?＋
Realistic budgets run from ₹2.5L for a focused, single-day scope up to ₹25L once you add crew, talent, locations and extended post. The variables that actually move the number are shoot days, crew size and how many finished cuts you need — not the camera body. Every quote we send is itemised so you can see what each of those lines costs before approving.
How long does it take?＋
Plan for 7-18 days from locked brief to final master. Pre-production takes the largest share of that window because scripting, casting and the recce decide how efficient the shoot day is. Fast-track schedules are possible when the script is already approved and locations are confirmed.
Do you work across Pune and PCMC?＋
Yes — Hinjewadi, Kharadi, Baner, Viman Nagar, Camp, Kothrud, Chakan, Talegaon, Pimpri-Chinchwad and the outer belt towards Pawna and Shirwal. Crew, kit and power are ours, so a shoot at your premises does not depend on what is available locally.
Who owns the footage and the final files?＋
You own the licensed deliverables outright. Raw rushes are archived for twelve months and can be handed over on a drive at cost. We do not hold footage as a retention tactic — repeat work should come from the last project being good, not from a hostage archive.
Go deeper before you brief
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Send the brief, or just the problem you are trying to solve. You will get a script direction, a shoot plan and a line-by-line number — not a PDF of stock photos.
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