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Television production houses · Social media

Post the work that a commissioning editor and a casting agent would share onward.

Social media marketing for a television production house is the steady posting of sets, scenes, crew and credits where the trade, talent and agencies are already looking. GullySales plans the posts around the people in the industry who follow and forward them.

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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

What social media means

Social media is the ongoing posting your business does on platforms such as Instagram, Facebook and LinkedIn to stay visible to customers and prospects between purchases. GullySales plans a posting calendar, writes captions and designs the images so the page looks active and answers what a visitor would ask.

Also for television production houses

Sales and marketing for television production houses, the overview.

Last updated 18 Oct 2026.

For television production houses

Where it usually goes wrong, and what we would do.

  • “The audience is the trade, not the viewer”

    The channel owns the viewer relationship. Your followers who matter are programming people, agencies, writers, directors and actors. A post that only repeats the channel's promotion adds nothing for them.

  • “Behind-the-scenes posts show the engine”

    A commissioner worried about delivery of a daily show wants to see a working unit: sets, a writers' room, a post suite. Short clips and photographs of how an episode comes together answer that worry without a word of pitch.

  • “Talent and crew posts need permission”

    Photographs of actors, child artists and crew on set involve consent and contracts with the channel. Posting a still before the channel has promoted the show can annoy the buyer and damage the relationship.

  • “Platforms suit different material”

    LinkedIn suits credits, hires and trade news. Instagram suits sets and short clips. YouTube suits showreels and trailers once public. Posting identical material everywhere makes each platform feel like an afterthought.

What we do

What we deliver for television production houses.

Every deliverable, what it covers for you, and the result it is there to produce. Nothing here is an extra.

  1. Platform plan for the trade

    A choice of the platforms where programming people, agencies and talent are present, and what each is used for.

    Result: A short document stating what goes on each platform and why.

  2. Post formats for production work

    Repeatable formats such as a set walk-through, a crew introduction, a premiere announcement and a writers' room note.

    Result: A set of templates the team can fill without starting from a blank page.

  3. Permissions checklist

    A checklist covering channel approval, artist consent, music and location clearance before a post goes live.

    Result: Nothing is posted before the permissions listed are confirmed.

  4. A posting calendar tied to your shows

    Posts planned around a show's shoot, its release and its renewal, so social activity follows the production.

    Result: A calendar that matches the production schedule rather than random days.

  5. Profile set-up

    Names, descriptions, links and pinned posts on each profile, pointing channels and agencies to the right enquiry page.

    Result: A visitor to any profile can reach the correct contact in one step.

How the result is measured

  • Posts published
  • Engagement rate
  • Enquiries from social profiles

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

Read the full social media marketing page

Posts and pieces to plan

Post what a programming head would forward to a colleague, not what a viewer would like.

A set built for a show
A short walk through a finished set with the art director named. Show only what the channel has released, and add the show title only once it is cleared.
A writers' room day
A photo or short clip of the team breaking an episode, with the head writer credited by permission. It shows the engine behind a serial, which buyers cannot see in a reel.
A crew credit after a wrap
A thank-you post naming the unit that finished a schedule. It signals a stable crew, which matters to a channel that has seen houses lose their teams mid-season.
A format teaser without the reveal
One still and a line from a new concept, held back from a full pitch. It tells the trade what you are developing while keeping the idea protected.
A festival or award mention
A post when a show is selected or recognised, using the announcement the festival itself made. Only report what is on the festival's own list.

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.

  • No one on the team has the cast, crew or channel permission to post stills, so posts would sit in a draft folder.
  • You want viewer followers for a show, which is the channel's promotion job and not yours.
  • The house has made no new work lately, and the feed would only show old material as if it were current.

How it works

How the social media work runs

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

    Confirm audience, platforms and access

    We note which platforms your buyers use and check that the pages sit under your own business accounts, with you as owner and us as added roles.

  2. 2

    Review the current presence

    We read the existing pages, the posts that drew replies and the gaps in posting.

  3. 3

    Build the calendar

    Themes, formats and dates are set out for your approval, with space for offers and news.

  4. 4

    Create, approve and publish

    Posts are made, approved by you and scheduled. Replies to the public are handled in your voice.

  5. 5

    Record enquiries and adjust

    Enquiries are logged against the post or platform where they began, and the mix changes to follow what brings them.

Where this fits

Three pieces of sales work, in this order.

This work sits inside sales process design, at stage 0, foundation. The audit comes before it, and sales management keeps it running.

  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 · you are here

    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 owners ask before they call.

Not here? More answers, or ask on WhatsApp.

Tell us what you need
Should we post stills from a show before it airs?
Only after the channel agrees. The channel controls the launch and may hold artwork or casting until its own announcement. Check your agreement, ask for written approval and post what the channel has cleared.
Do followers matter for a production house?
The count matters less than who follows. A small number of programming heads, agency planners and writers is worth more than a large audience of general viewers who cannot commission anything.
Who should run the house's account?
Someone who understands both the work and the permissions, a producer, or a coordinator with a producer signing off. A post that names a cast member or a channel without clearance can sour a relationship that took years to build.
Which platform suits a production house?
LinkedIn reaches agency planners and channel executives; Instagram suits set and crew material. The trade reads the first, the second shows craft. Pick one to keep current before opening a second, since an idle profile counts against you.
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?
It depends on the trade, the channel and what is already in place. After we have read your brief and spoken to you, we say what we would expect to move first and how it will be measured against the baseline. 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?
Your brief, and a conversation. After that, access to whatever this work touches, such as your website, your accounts or your enquiry record, and time with the people who handle your enquiries.
What if we are not happy with the work?
Tell us and the plan changes. Everything is reported against the baseline, so a number that is not moving is visible to both sides. The term is in your written scope, and the refund and cancellation policy sets out the rest.

More for television production houses

Everything else we would do for you.

Closest to this: content and social

Also for television production houses

Or start from the overview: sales and marketing for television production houses.

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