Television advertising · Marketing
Book the regional feed and the time band your buyer actually watches.
Television is bought the way it has always been bought. You take time inside somebody else's programme, in units of ten seconds, on a channel that goes out to a region in a language. Everyone watching at that moment sees it, buyer or not.
Scope, fee, reporting and term are agreed in writing after we have read your brief and spoken to you.
In one paragraph
Television advertising buys spots inside a broadcaster's programming, quoted in ten-second units against a channel, a language feed and a time band rather than against an audience you pick. GullySales plans the channels, bands and spot lengths, coordinates the booking with the broadcaster or their agency, and reads the telecast log against what you paid for.
Regional feeds are what put it within reach. A Kannada news feed or a Telugu entertainment feed is a separate buy from the same broadcaster's national one, at its own rate. A state brand can be on television without paying for a national campaign.
The film is the part owners underestimate. Airtime is worth nothing without a cleared, broadcast-quality commercial to put in it, and that production is a separate cost which has to be settled before any spot is booked.
Who it is for
This is written for you if these sound familiar.
- Regional brands with distribution across a state, where most people watching can actually buy
- Hospitals, jewellers and builders launching something that has to be known widely inside a short window
- Businesses already advertising in print and outdoor across a state and adding a broadcast layer
- Owners offered a programme sponsorship or a spot package who cannot tell what is inside it
- Manufacturers recruiting dealers or distributors across one language market
Not for
It is not the right fit if.
- Most small businesses. One clinic or one showroom pays to reach a whole state in order to sell in three localities, and that money buys far more in search, outdoor or hyperlocal advertising
- Anyone expecting an enquiry traced to a spot, because television proves the advertisement ran and nothing about who watched it
- A budget that covers the airtime but not a usable film, which wastes both
- Political campaigns and election advertising, which we decline whatever the party
The problem
Does this sound like your business?
What owners tell us on the first call, in their words.
“We were sold a package and cannot tell what is inside it”
A quoted deal mixes prime and non-prime spots, run-of-day placements and a sponsorship tag. The cheap portion is where most of the spots quietly sit.
“Our spots ran at three in the morning”
Run-of-day spots go wherever the broadcaster has room. A fixed position inside a named programme costs more and is the only way to know when you will be on.
“The film was not cleared in time”
A commercial has to be certified for telecast and has to meet the advertising code before a broadcaster carries it. A schedule booked ahead of that clearance is a schedule at risk.
“The advertisement was made for a laptop screen”
A social media cut, built to be watched muted with text on screen, has no clean ten and twenty second versions and does not fit the units television sells.
What we do
Everything that is included.
Each deliverable, and what it gets you. Nothing here is an extra.
Channel, feed and band plan
Which channels, which language feeds, which time bands and which programmes, set against who you want and where they can buy from you.
Spot length set
Thirty, twenty and ten second cuts of the same film, because the rate is quoted per ten seconds and the short versions carry the repetition.
Screen space beside the programme
An L-band runs along the bottom and one side of the picture while the programme keeps playing, and a J-band is the same idea. Aston bands, scrollers and squeeze-ups hold the screen for a few seconds each. Sponsorship tags and content integration put the brand inside the programme, and none of these are quoted as a spot.
Package comparison
Quotes from more than one broadcaster or agency read on a common basis, with the run-of-day share of each package made visible before you sign.
Commercial production and clearance
The film scripted, shot and delivered in the broadcaster's technical format, with certification and code compliance done before the schedule starts.
Schedule and booking coordination
A spot schedule agreed and placed with the broadcaster or their agency, with fixed positions bought only where they earn the premium. A confirmed order typically reaches air about four days later, because the channel has to slot the schedule and take delivery of the film.
Telecast reconciliation
The broadcaster's telecast certificate and spot log read line by line against the schedule, and missed spots claimed back as replacements.
Ground support through the burst
A campaign number, a landing page and search advertising live for the length of the burst, so a viewer who does look you up finds something waiting.
How the result is measured
- Spots telecast against spots booked, from the broadcaster's log
- Share of the schedule in fixed positions against run-of-day
- Rate per ten seconds negotiated against the first quote
- Calls to the campaign number during the burst
- Branded searches and direct enquiries before, during and after the burst
Recorded as a baseline before work starts, so every later report has an honest comparison.
How it works
How the television advertising 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
Test whether television is the right buy
We price what the same budget would do in outdoor, search and hyperlocal first, and say plainly when television loses that comparison.
- 2
Fix the region, language and band
We settle the language feeds and time bands around your buyer and the places you can actually serve an order from.
- 3
Budget the film before the airtime
Production is costed and commissioned first, with the clearance time built into the schedule rather than discovered later.
- 4
Compare quotes and book
Packages are read on one basis and the booking is coordinated with the broadcaster or their agency at a negotiated rate.
- 5
Reconcile and report
Spot logs are checked against the schedule, shortfalls are claimed, and call volume through the burst is reported alongside.
Where this fits
Three pieces of sales work, in this order.
This work sits inside sales process design, at stage 1, prospecting and lead generation. The audit comes before it, and sales management keeps it running.
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.
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.
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.
FAQ
Questions owners ask before they call.
Not here? More answers, or ask on WhatsApp.
Is television worth it for a business like mine?
What am I actually buying when I book a spot?
Can we use our existing social media video?
How do I know the advertisement really ran?
Does the time of year change what a spot costs?
How is this priced?
How long is the contract?
How soon will we see results?
Who will actually do the work?
What do you need from us?
By industry
Television advertising, written for your industry.
Related services
Often bought with this, or instead of it.
Your next practical step
Tell us what you are trying to grow, and we will read it before we call.
Eight short steps, mostly taps. Skip anything you would rather answer on the call.