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VFX studios · CRM

Keep every supervisor, producer and bid in one record the whole studio can read.

A CRM for a VFX studio is a shared record of people, productions and bids, so that no contact lives only in the founder's phone. GullySales works on the fields, the stages and the habits that keep it current.

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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 CRM means

A CRM is the record where every enquiry, call and quote is kept against a customer, replacing separate notebooks, spreadsheets and memory. GullySales sets up or cleans an existing CRM and reports from it by enquiry outcome rather than by activity logged.

Also for VFX studios

Sales and marketing for VFX studios, the overview.

Last updated 18 Oct 2026.

For VFX studios

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

  • “Relationships sit in one head”

    The founder knows which supervisor moved to which series. When that person is away, nobody else can place the call. A shared record of who knows whom and where each person works now lets the studio act without waiting for one memory.

  • “A bid is a project with stages, not a phone call”

    A request arrives, a bid goes out, questions come back, and shots are awarded or lost. With no stages, a bid that stalls disappears into the inbox. A date on each stage shows which bids need a note today.

  • “People change productions, so records go stale”

    A supervisor on a series last year is on a feature now. A record keyed only to the production holds an old contact. Storing the person, the current project and the date it was last confirmed keeps the entry worth opening.

  • “Loss reasons are the best market research”

    Why a shot package went to another house is a fact no report offers. Logged at once from a short pick-list, it shows patterns in price, schedule or shot type that nobody in the studio would otherwise remember.

What we do

What we deliver for VFX studios.

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

  1. Contact and production fields

    A short set of fields for the person, the current production, the shot types they buy and the last date confirmed.

    Result: Every contact shows a current project and a confirmation date.

  2. Bid pipeline stages

    Request received, bid sent, clarifications, awarded and lost, with a date on each move.

    Result: Each open bid has a stage and a date it last moved.

  3. Award and loss reasons

    A pick-list for the reason a bid was won or lost, filled in when the answer arrives.

    Result: Every closed bid carries a reason.

  4. Reference tracking

    Which referees have agreed, for which shot types, and when they were last asked.

    Result: A referee for each shot type is on file.

  5. Contact import

    Contacts gathered from phones, email and old bid sheets into a single clean list.

    Result: One list replaces three scattered ones.

  6. Update rules

    A one-page note on who adds a contact and who logs a bid outcome.

    Result: Each entry has a named person responsible.

How the result is measured

  • Enquiries logged in the CRM
  • Data completeness
  • Reports generated from CRM data

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

Read the full CRM implementation and customisation page

Fields worth keeping

These are the fields a VFX studio should keep about every contact and bid.

Contact role and current production
Supervisor, producer or production head, with the show they are on now. Updated by whoever speaks to them, since people move between shows.
Shot types worked on together
Entered after each project by the producer, so a new bid from a past buyer opens with the shots you have already delivered for them.
Bid stage and shot count
Requested, quoted, negotiating, awarded or lost, with the number of shots. Kept by the producer to show where the pipeline is thin.
Loss or award reason
Chosen from a short list after each bid, such as price, schedule, relationship or craft fit, and filled in by the founder.
Reference permission
Whether this contact will act as a reference, entered after a good delivery and checked before anyone is told to call them.

Who it is for

This is written for these VFX studios.

  • Compositing and cleanup studios for features and series
  • Studios specialising in environments and set extension
  • Creature, character and simulation studios
  • Studios doing advertising VFX and product CGI
  • Roto, paint and prep outsourcing studios
  • Virtual production and LED-stage service providers
  • Studios offering stereo conversion and finishing
  • Boutique studios that supervise on set and deliver in post

Not for

It is not the right fit if.

  • Your contacts sit in the founder's phone and the founder does not wish to share them, so a shared record would hold half the picture.
  • You have too few bids in a year for a system to show a pattern, and a spreadsheet already tracks each one.

How it works

How the CRM 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

    Map the sales process

    We sit with the people who sell and write down how a deal moves from enquiry to payment, including where it stalls.

  2. 2

    Agree stages, fields and owners

    Each stage gets a name your team already uses and a proof that the deal has left it. We agree which fields are required at which stage, and who may change what.

  3. 3

    Build on a copy

    Pipeline, fields and views are built on a trial copy where the CRM offers one, or in a separate pipeline where the plan allows. Live work stays untouched.

  4. 4

    Connect channels, then switch on automations

    Channels are connected first. Each automation is then switched on separately, so a misfiring rule is easy to find.

  5. 5

    Test with real deals

    The people who will use the CRM run open deals through it. Gaps are fixed before the whole team switches over.

  6. 6

    Switch over and trim

    Once real use shows which fields stay empty and which stages nobody uses, those are cut and the handover record is updated.

Where this fits

Three pieces of sales work, in this order.

This work sits inside sales management. A target, a review routine and someone who owns the number.

  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 · you are here

    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
Which CRM should we use?
Choose one the team will open every day. A spreadsheet works to begin with, and a tool such as Zoho CRM or HubSpot suits once several people log contacts. GullySales sets up the fields and stages in whichever you choose.
Is it safe to keep client details in a CRM?
Keep production names and unreleased details out of free-text fields where possible, and give access only to those who need it. Check the tool's current terms and your client contracts for confidentiality duties.
Should the CRM hold files under NDA?
No. Keep the record to names, notes and status, and store project files in the secure system the contract allows. A CRM with wider staff access is the wrong place for client footage, and a breach would harm the studio's standing with every production.
Who updates a contact when they move shows?
Whoever hears of the change, within the team's normal routine, with a field for the new show and the date known. A named producer reviews the key contacts when new announcements come out, since an out-of-date role sends the wrong reel to the wrong person.
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 VFX studios

Everything else we would do for you.

Closest to this: leads and follow-up

Also for VFX studios

Or start from the overview: sales and marketing for VFX studios.

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