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Television production houses · Other

Be on the commissioning editor's list when a channel needs a new show.

A production house in Mumbai has a reality format it believes in, a writers’ room that has done four daily-soap episodes this week, and a channel head who will give it twenty minutes next Thursday. If the concept note is stale and the team has not checked what the channel already has in the slot, the twenty minutes are spent on basics.

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Scope, fee, reporting and term are agreed in writing after we have read your brief and spoken to you.

Realistic editorial illustration of photography and videography studios at work in India

In one paragraph

A television production house makes serials, reality formats, news programmes and non-fiction series for channels, and for platforms and brands. Marketing puts formats and past shows in front of programming teams. Sales moves from concept to pilot to commission. GullySales prepares one-page concept notes, genre-wise reels and a map of who programmes what at each channel.

Television has few buyers, and each has a slot to fill and a budget to defend. A house gets the call when the programming team thinks of it as a gap opens. That comes from staying in touch with the people who commission, and from making it easy to forward a one-page idea.

Last updated 18 Oct 2026.

How buyers decide

How television production houses are chosen.

Channel programming heads and commissioning editors choose on the idea, the producer's record on similar shows, and whether the house has the production strength to deliver the volume the slot needs. A daily show needs a different engine from a weekly reality series, and a producer who has done one is not assumed to be able to do the other.

Agencies and brands buying branded content look for production quality, speed of response and a clear cost. They compare two or three houses and start with a producer they have worked with before.

Once a show is running, the channel judges the house on delivery and the ratings the show earns. A house that is easy to work with, solves problems on its own and reports honestly gets the next show.

The problem

What usually goes wrong for television production houses.

What owners tell us on the first call, in their words.

  • “We pitch the same three people and have no other route in”

    Our relationships are with a couple of programming heads. When they move, we start from zero with the new team.

  • “Concept notes are written fresh each time”

    Each pitch is a rewritten document, so we send fewer ideas than we have and some good formats sit in folders.

  • “Channels do not know what we have made lately”

    Our best work is a show that finished two years ago. Nothing shows the current writing team, the sets or the crew.

  • “Branded content enquiries are handled by whoever picks up”

    Agencies ask for a sample and a rough cost, and the reply depends on who is free, so some go to other houses.

  • “Regional channel work is invisible to Hindi-market buyers”

    We do strong work in our language, but the larger channels and platforms never see it.

  • “We cannot describe what separates us from fifty other houses”

    Every house says it makes quality content. We have no short statement of the formats we are best at.

What we do

What we do for television production houses.

Everything included for television production houses.

  1. A format library of one-page concept notes

    Each format gets a single page covering the idea, the episode structure, the target viewer and what the house would bring to it, in a common layout.

  2. Genre-wise showreels and credit lists

    Short reels grouped by fiction, reality, non-fiction and branded work, each with the credits and the channel it ran on.

  3. Programming team map

    A list of the channels and platforms you pitch to, the programming and acquisition people at each, and when you last spoke.

  4. Branded-content response kit

    A standard response for agencies with sample work, a way to scope a brief and a clear order of who replies.

  5. Website with formats, shows and the team

    Pages for each show and each format, with credits for writers, directors and crew, and an enquiry form for channels and agencies separately.

  6. Pitch-meeting follow-up note

    A thank-you note and materials pack to send after a pitch, and a record of the channel's feedback and next step.

How the result is measured

  • Pitches sent by format and by channel
  • Meetings held with programming teams
  • Pilots or commissions that followed a pitch
  • Branded-content briefs received and answered
  • Agencies that have your reel on file
  • Website enquiries by source

Recorded as a baseline before work starts, so every later report has an honest comparison.

Every service, written for television production houses

Each has its own page: what it involves for television production houses, what you get, and what it is measured on.

Worth a page and a campaign of their own

One-page concept notes for every format · Channel and platform programming outreach · A showreel organised by genre · Branded-content enquiry handling · Regional channel visibility · A website with formats and credits · Agency relationships · Follow-up after every pitch meeting

Priority campaigns

Campaigns for what television production houses most want to sell.

Each one planned around when your buyers decide, and measured against the baseline.

  • New-format introduction to channels

    A short, targeted email and call script for programming teams, with a one-page note for a format that suits their slot.

  • Regional-to-national visibility push

    A presentation of regional hits, with viewership details where the channel has shared them with you, to national channels and platforms looking for dubbing or adaptation.

  • Agency branded-content outreach

    A note and reel to media agencies and brand teams planning sponsored programmes around festivals, sport and seasonal events.

  • Writers' and talent visibility

    Profiles of your head writers, directors and showrunners, shared with channels and in the trade press.

Beyond search

Where we reach buyers of television production houses, beyond Google.

Search matters, but it is rarely the only way this industry's buyers find a supplier.

  • Channel programming and commissioning heads

    The people who hold the daily-soap, reality or non-fiction slot at each channel, with an approach prepared around the slot they are trying to fill.

  • Platform acquisition teams

    Streaming platforms buy television-origin formats for adaptation, so a format note is written in their terms: episode count, season shape, remake potential.

  • Media agencies and brand content teams

    Agencies hire houses for sponsored programmes around a festival or a sports season, and the reel and kit are written for the planner and the producer who read them.

  • Broadcasters' associations and trade events

    Industry events where programming heads meet producers need a one-page format sheet and a card that someone will keep.

Who it is for

This is written for these television production houses.

  • Fiction serial and daily soap production houses
  • Reality and game-show format producers
  • News and current-affairs programme producers
  • Non-fiction and documentary series producers
  • Regional-language channel suppliers
  • Branded-content and corporate-programme producers
  • Format adaptation houses that localise international shows

Not for

It is not the right fit if.

  • You want a guaranteed Google ranking or a guaranteed number of leads. Nobody honest can promise either.
  • You need enquiries by next week and have nobody to answer them.
  • You want posts and reach reported, not enquiries and orders.

How it works

How the work runs for television production houses

The work itself, in order. How an engagement starts, from your brief to a written scope, is set out on our method page.

  1. 1

    List the formats that have no written note

    Every format, show and credit you have is listed, with a mark against the ones that have no written note.

  2. 2

    Write a one-page note for each format

    Concept notes, reels and credit lists are written to a standard layout and approved by you.

  3. 3

    Map the buyers

    Channels, platforms and agencies are listed with the person responsible and your history with each.

  4. 4

    Go to the right slot

    Approaches go out one format at a time, matched to what each channel is looking for.

  5. 5

    Close the loop

    Every meeting gets a follow-up, and the feedback is logged so the next pitch improves.

Where this fits

Three pieces of sales work, in this order.

GullySales builds every engagement from three pieces of sales work. This page is not one of them, but the same three steps apply to the business behind it.

  1. Step 1

    Sales audit

    Find where deals are being lost and what to fix first.

    Start here if you cannot say where orders are lost.

  2. Step 2

    Sales process design

    One written way to sell, from first enquiry to repeat order.

    Start here if every salesperson sells differently.

  3. Step 3

    Sales management

    A target, a review routine and someone who owns the number.

    Start here if the team has targets and no routine.

Tell us what you need Your brief is read before we call. Scope, fee and term in writing.

FAQ

Questions television production houses ask before they call.

Not here? More answers, or ask on WhatsApp.

Tell us what you need
Can you get us a channel commission?
We do not promise a commission, because the channel decides. We prepare the notes, make the introductions and keep every pitch followed up, so that the decision is made with full information.
Do you write our concept notes?
We write the note from your idea and the discussion with you. The creative content, titles and anything that depends on rights stays with your team.
We make mostly regional content. Is that useful for this?
Regional-language work can reach other markets by dubbing or adaptation, and buyers there need a clear way to see it.
Do you handle ratings data?
We do not produce ratings data. If a channel has shared figures with you, we can use them in a pitch with your permission and in the form the channel allows.
Can you help with branded-content enquiries as well?
We set up the reply side. Agencies want a quick, clear answer with relevant samples, and a standard response kit gives your team a ready answer with samples attached.
How much does it cost?
There is no price list, because the work differs by business. The fee is scoped after we have read your brief and spoken to you, and put in writing before anything starts, split into our time, your media spend and production.
How long is the contract?
The term is agreed in writing after we have spoken, along with the fee and the reporting. It is never a default twelve months, and renewal is decided on the numbers against the baseline recorded at the start.
How soon will we see results?
Fixes to reply time, follow-up and your Google Business Profile are the quickest to show, because the enquiries already exist. Ads can follow soon after follow-up is in place. SEO and content take longer. How long each takes depends on your business, and we tell you which applies to you after we have spoken. Nothing here is guaranteed.
Who will actually do the work?
The person you speak to before anything starts. We work from one office in Nagarbhavi, Bengaluru, with no account managers in between.
What do you need from us?
To start, last month's enquiries in any format and time with whoever handles them. After that, access to the accounts the work touches, such as the website, Google Business Profile or CRM.

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