20 Best Commercial Production Companies for TV and Video (2026)

If you need a broadcast spot with a name director, the TV commercial production companies to shortlist in 2026 are the director-roster houses: MJZ, SMUGGLER, Somesuch, Hungry Man and Biscuit Filmworks. A tech launch film or an animated product spot sits better with specialists such as Sandwich and Demo Duck. Brand films and B2B commercials at mid-market prices are where commercial video production companies like Bottle Rocket Media and Bold Content come in, and both publish price guidance you can check before the first call. There are 20 companies below, and for each one I note where it is based and what kind of shop it is, with a pricing signal and one limitation apiece.

I co-founded Moonb, which is entry 1, so read that one with my bias in mind. Running a creative studio means a good part of my week goes into watching other people’s commercials and working out who is good at what. The words “commercial production” cover anything from a Chicago studio making a two-minute animated product ad to a film house shooting a Super Bowl spot with a large crew, and the two are very different businesses. What narrows this list fastest is knowing whether you are buying an event (one spot, made properly) or building a habit (new commercial work every month).

A commercial is video made to advertise: the TV spot, the YouTube pre-roll, the paid social cutdown and the brand film that anchors a campaign. Corporate video that trains staff or records a testimonial is a different craft, so if yours needs to inform rather than sell, our roundup of corporate video production companies is the better list. If this is your first commercial, the guide to commercial video production walks through how a shoot comes together.

The money behind these spots keeps climbing: US digital video ad spend passes $80 billion in 2026 and is still outpacing the wider ad market, according to the IAB’s 2026 Digital Video Ad Spend and Strategy Report, and each placement that money buys needs its own cut.

How I vetted these 20 companies

I checked every company in September 2026 against its own site, plus a named neutral source wherever I cite one, such as the Television Academy’s Outstanding Commercial nominees and winners, SHOOT, Ad Age, Wikipedia or Clutch. All of them are trading this month, and the clients listed are the ones each company names itself. Prices appear only where the company or its Clutch profile publishes them. I state an award as fact only when the awarding body or a trade outlet confirmed it, and anything I could not confirm that way is credited to the company that claims it.

Once the facts were checked, I judged what each company is built for and the craft in its reel, since a broadcast spot and a batch of social cuts need very different machines behind them. Every entry gets one limitation, mine included.

Where to start, depending on what you are making:

• One broadcast TV spot with a name director: 3 to 8, plus 19.
• A spot that mixes live action with heavy VFX or 3D: 2.
• An animated commercial for a product that needs explaining: 9.
• A tech launch film or a direct-response ad that has to sell: 11 or 10.
• A B2B brand ad that should feel like a real commercial: 13.
• Story-led films on sensitive or regulated subjects: 12.
• Brand films and B2B commercials at mid-market prices: 14, 16, 17 and 20.
• Production in the UK: 19 and 20 are London-based, and 3, 4, 5, 6 and 14 have London offices or teams.
• One New York vendor for commercials plus corporate video: 18, or 15 if you are an agency that needs a production partner.
• Commercial work every month inside a wider creative program: 1.

1. Moonb

This is my company, so weigh it against the other nineteen yourself. Moonb is an embedded creative team: a dedicated Creative Director plus video, motion, design and animation people who stay with your brand, so commercials come from the same team that makes everything around them. If what you need is one broadcast epic with a name director, entries 3 to 8 and 19 are the better call.

• Best for: brands that make commercial and campaign work every month and want it joined up with the rest of their creative
• Pricing: one set monthly rate, or a per-project quote
• Clients they name: Dell, Toyota, Nestle
• Model: embedded creative team led by a dedicated Creative Director, ongoing
• Review signal: 4.9 on Clutch

2. Froth & Fur

Froth & Fur is a director-led creative studio in New York and Los Angeles, founded by filmmaker Patrick Ortman. Live action, post, VFX and 3D animation all sit with one team, so a spot that mixes a real shoot with CG stays with a single vendor. The work ranges from TV commercials for MassMutual to anamorphic 3D billboards for HI-TEC.

• Best for: commercials with heavy VFX or 3D that one studio should take from script to final delivery
• Pricing: not published on its site; Clutch lists a $50,000+ minimum
• Clients they name: MassMutual, Apartments.com, HI-TEC, Tipalti
• Model: director-led studio with in-house post, VFX and 3D, per project
• Review signal: 5.0 on Clutch from 17 reviews

3. Hungry Man

Hungry Man, which now writes its name as hungryman, was founded in 1997 by Hank Perlman and Bryan Buckley, and Wikipedia credits Buckley alone with over 70 Super Bowl commercials. Its comedy roster also includes Wayne McClammy and Taika Waititi, and the company keeps offices in Los Angeles, New York, London and São Paulo.

• Best for: very funny broadcast spots at big-event scale, including celebrity work
• Pricing: not publicly stated
• Clients they name: State Farm, Lay’s, Pepsi, Amazon, Capital One
• Model: director roster, per project
• Review signal: two 2025 Outstanding Commercial Emmy nominations (Television Academy)

4. Biscuit Filmworks

Biscuit was founded in 2000 by director Noam Murro and Shawn Lacy and works from Los Angeles and London. Its US roster lists 29 directors and collectives, from Justin Kurzel to Glue Society, and an experiential division builds brand stunts as well as films.

• Best for: a strongly directed commercial or an experiential stunt from a wide roster
• Pricing: not publicly stated
• Clients they name: Guinness, Heineken, Starbucks, Kia, Nike
• Model: director roster with experiential and longform divisions, per project
• Review signal: Ad Age 2026 A-List; 13 entries on the 2026 AICP Show shortlist (SHOOT)

5. MJZ

MJZ, co-founded by David Zander and Rocky Morton, runs from Los Angeles and London, and its roster is the reason people call: Spike Jonze, Tom Kuntz, Dante Ariola, Craig Gillespie and Harmony Korine, among others. Its Coinbase spot ‘Your Way Out’ is a 2026 Outstanding Commercial Emmy nominee.

• Best for: flagship campaigns built around an auteur director
• Pricing: not publicly stated
• Clients they name: Apple, KFC, Ikea, Old Spice, Heineken
• Model: director roster, per project
• Review signal: led the 2026 AICP Show shortlist with 47 mentions (SHOOT)

6. SMUGGLER

SMUGGLER was founded in 2002 by Patrick Milling-Smith and Brian Carmody (per Wikipedia), who still run it from Los Angeles, New York and London. It pairs feature directors such as Kathryn Bigelow and Barry Jenkins with commercial specialists like Mark Molloy, and it also works in film, TV, music video and theater.

• Best for: a feature-film director on a commercial, or work that crosses into film and TV
• Pricing: not publicly stated
• Clients they name: adidas, Apple, OpenAI, Chase, Burberry
• Model: director roster with film, TV and theater divisions, per project
• Review signal: two Outstanding Commercial Emmy nominations in each of 2025 and 2026 (Television Academy)

7. O Positive Films

O Positive was founded in 2007 by executive producer Ralph Laucella and director Jim Jenkins (per SHOOT) and works from New York and Santa Monica. Its directors, Jenkins and David Shane among them, specialize in comedy and performance, the kind of spot where casting and timing carry the idea.

• Best for: comedy and celebrity-led spots from a compact roster
• Pricing: not publicly stated
• Clients they name: Jeep, State Farm, Uber Eats, Wells Fargo, Progressive
• Model: director roster of 12, per project
• Review signal: 2025 Outstanding Commercial Emmy winner for Uber One’s ‘Brian Cox Goes To College’ (Television Academy)

8. Epoch Films

Epoch was founded in 1989 by Mindy Goldberg and has offices in New York and Los Angeles, with London and Europe served through partner company Knucklehead. It is known for developing directors (Martin de Thurah and Phil Morrison started there, per Muse by Clios), and it has made feature films since Junebug in 2005.

• Best for: offbeat humor or crafted storytelling, including long-form and documentary work
• Pricing: not publicly stated
• Clients they name: Skittles, Wendy’s, Coinbase, Instacart, Levi’s
• Model: director roster with a film and TV division, per project
• Review signal: Ad Age 2026 A-List

9. Demo Duck

Demo Duck started in Chicago in 2011 as an explainer company and now makes product commercials and live-action work alongside its animation. It is the animated-commercial pick on this list, and its FAQ publishes typical prices by format.

• Best for: B2B, software, healthcare and education brands that need a complex product made simple
• Pricing: published; about $20,000 to $25,000 for a custom 2D animated video, $40,000 to $60,000+ for scripted live action
• Clients they name: Rippling, GEICO, Northwestern Mutual, Google, Lenovo
• Model: animation and live-action studio, per project or series
• Review signal: Silver Telly for a Lenovo video, reported by Reel Chicago

10. Harmon Brothers

Harmon Brothers is a Provo, Utah ad shop, operating since 2013 and still best known for its Squatty Potty spot. Its formula pairs a long comedic story with hard selling; for Purple, one long-form film was written so it could also run as 10 standalone spots across Meta, YouTube, CTV and linear TV.

• Best for: consumer and DTC brands that want a funny sales video plus cutdowns built to convert
• Pricing: not published on its site; its one Clutch review lists a $50,000 to $199,999 project
• Clients they name: Squatty Potty, Purple, Lume, Poo-Pourri
• Model: direct-response video ad agency, per campaign
• Review signal: Webby People’s Voice Award for the Squatty Potty ad (Webby Awards)

11. Sandwich

Sandwich is a Los Angeles studio founded by Adam Lisagor, who started making deadpan tech commercials in 2009. Clients tend to return, and Perplexity’s short film with Lee Jung-jae was its fourth commercial with the studio. On price, the FAQ says $250K is typically a good starting point and adds that Sandwich can get creative with equity for startups it believes in.

• Best for: funded tech companies that need a funny, well-written launch spot
• Pricing: its FAQ calls $250K “a good starting point”
• Clients they name: Slack, Airbnb, Figma, Shopify, Perplexity
• Model: commercial studio with in-house writing and post, per project

12. Storyfarm

Storyfarm is a Baltimore company run by CEO John Sherman, a former TV news reporter who started it around 2009 with photographer Beau Kershaw. Alongside brand films for McDonald’s and Mastercard, it runs a trust and safety practice that makes training and policy video for Uber and Match Group. The Peabody and National Emmy listed on its homepage match honors Sherman won as a TV reporter, by his own account in a 2021 Capitol Communicator profile.

• Best for: story-led brand films and training video on sensitive or regulated subjects
• Pricing: not published on its site; Clutch lists a $10,000+ minimum
• Clients they name: McDonald’s, Mastercard, Uber, Starbucks, Match Group
• Model: small strategy-led production company, per project
• Review signal: 5.0 on Clutch from 19 reviews

13. Umault

Umault is a Chicago-area B2B ad shop led by founder and creative director Guy Bauer. It makes comedic, story-first ads for categories most brands treat as dry, from a DNA sequencer launch for PacBio to Googleheimer, an Oppenheimer parody for Matomo that Umault says was nominated for a Webby.

• Best for: B2B brands in technical categories that are ready to run a funny ad and put real distribution behind it
• Pricing: not published on its site; Clutch lists a $50,000+ minimum
• Clients they name: Dell Technologies, Deloitte, MassMutual, Matomo, PacBio
• Model: boutique B2B video ad shop, a few high-concept ads at a time
• Review signal: 5.0 on Clutch from 26 reviews

14. Synima

Synima was founded in 2000 by Quint Boa and Matt Giles, who met at the BBC, and now runs teams in New York, Los Angeles, London and Amsterdam. It calls itself a mid-range video production company, and its work mixes brand work for J.P. Morgan and HPE with explainers and e-learning, plus newer AI production services.

• Best for: B2B companies that want commercials plus explainers or training video, made across US and European markets
• Pricing: not published on its site; Clutch lists a $5,000+ minimum and $100 to $149 an hour
• Clients they name: J.P. Morgan, HPE, Honeywell, Siemens, Revolut
• Model: multi-city video company with AI-assisted production, per project
• Review signal: 4.9 on Clutch from 38 reviews

15. Wild / Factory

Wild / Factory is headquartered in New York, with studios in Los Angeles, Montreal and Mexico City. It represents commercial directors such as Johan T Anderson and Oliver Latta and also works as a white-label production partner for agencies, with editing, color, sound and VFX in-house.

• Best for: a director-led live-action spot with post in-house, or an agency production partner in one of its four cities
• Pricing: not published; quotes are itemized a la carte, and Clutch lists a $10,000+ minimum
• Clients they name: Pepsi, Warby Parker, JCPenney, Google, HBO
• Model: director roster plus white-label production, per project
• Review signal: Clutch profile with no reviews yet

16. Zero One

Zero One Digital Media is a San Francisco company that has made brand video since 2012, with crews in New York, Los Angeles, Austin and Seattle. It owns its ARRI and Canon camera packages, grip, lighting and production vehicles, and its work centers on tech clients such as Adobe and Gusto.

• Best for: tech and B2B brands that need live-action brand films or customer stories shot in a major US city
• Pricing: not published on its site; Clutch lists a $10,000+ minimum and $150 to $199 an hour
• Clients they name: Adobe, Google, Intel, Airbnb, Shopify
• Model: live-action production company with owned gear, per project
• Review signal: 4.9 on Clutch from 14 reviews

17. Bottle Rocket Media

Bottle Rocket Media was founded in 2011 and is run from Chicago by principals Dan Fisher and Brett Singer. It publishes three cost bands and sells video SEO, AI search optimization and paid media on top of production, so the team that shoots a spot can also place it.

• Best for: story-led commercials and branded content with distribution handled by the same company
• Pricing: published bands of $15,000 to $50,000, $50,000 to $150,000, and $150,000 to $5 million+
• Clients they name: Apple, Dyson, United Airlines, Aspen Dental
• Model: production plus video SEO and paid media, per project
• Review signal: 4.9 on Clutch from 44 reviews; 2020 Gold Telly

18. Indigo Productions

Indigo is a New York company founded in 1990 by Max Rosen that makes commercials as well as corporate video and live-streamed or virtual events. Its site is plain about the floor: most projects begin at $10,000 unless the project is small.

• Best for: New York brands that want commercials plus corporate video and events from one vendor
• Pricing: most projects from $10,000 in its own words; Clutch lists a $5,000+ minimum
• Clients they name: Salesforce, Sony Pictures, Viacom, Philips Healthcare, IBM
• Model: full-service production house with in-house post, per project
• Review signal: 5.0 on Clutch from 45 reviews

19. Somesuch

Somesuch is a production company founded in 2010, with offices in London and Los Angeles, and it won the 2026 Outstanding Commercial Emmy for Apple’s ‘I’m Not Remarkable’. Its roster includes Kim Gehrig, Charlotte Regan, Aneil Karia and Kahlil Joseph, and it also runs a film arm and a book imprint, Somesuch Editions.

• Best for: UK or US brands and agencies that want award-level directing on a commercial
• Pricing: not publicly stated
• Clients they name: Apple, Nike, Foot Locker, Specsavers, Spotify
• Model: director roster with film and publishing arms, per project
• Review signal: 2026 Emmy winner, plus a 2026 nomination for Levi’s ‘Backstory’ (Television Academy)

20. Bold Content

Bold Content is a London studio working in live action and animation, incorporated in 2013 and run by managing director Adam Neale. Its portfolio stretches from promo videos for Snapchat and Pandora to a long content partnership with Colt Technology Services, and it publishes price ranges by format.

• Best for: UK B2B and nonprofit marketing teams that want brand films or animated explainers with price guidance upfront
• Pricing: published; from £1,500 for a simple edit to £200,000 for high-end commercials, with brand videos at £15,000 to £50,000
• Clients they name: Snapchat, Coca-Cola, Pandora, Colt Technology Services
• Model: live-action and animation studio with specialist freelancers, per project
• Review signal: 4.8 on Clutch from 7 reviews

If you have never been on a commercial set, watch how much planning happens before anyone rolls a camera. This behind-the-scenes walkthrough shows how a real TV commercial comes together, and it explains a lot about why the good companies cost what they cost.

The 20 companies in one table

Here is the whole list side by side. For the pricing signal I used what each company publishes on its own site, falling back to the minimum on its Clutch profile when the site publishes nothing.

How to pick the right company for your spot

The right company depends on what you are making and how often you make it. When the job is one ambitious broadcast spot with a name director, and the money is there to match, the roster houses in entries 3 to 8 and 19 give you the best odds of something people remember. A clear product ad or an animated brand piece usually goes better with a specialist, who will also cost you less drama. And if new commercial work lands on your desk every month, a one-off production company is the wrong tool, because every project restarts the briefing and the brand knowledge leaves when the shoot wraps.

Here is the checklist I use when a brand asks me who to hire:

• Decide what the commercial has to do. Selling a product this quarter and building a brand over years call for different films, and naming yours cuts this list in half.
• Match the reel to your category and tone. A comedic direct-response shop and a cinematic brand-film house are different trades, so ask for work that sold something close to what you sell.
• Read the pricing signal. Published price ranges, like Demo Duck’s or Bottle Rocket Media’s, point to defined and repeatable work, whereas a roster house that only quotes is set up for one-off productions. Our breakdown of what it costs to make a commercial shows where the money goes.
• Check who directs and who owns the footage. On a commercial the director sets the ceiling, and the raw footage gets recut for years, so get both in writing before you sign.
• Plan the cutdowns from the start. A hero spot rarely works as a six-second ad on its own, so decide the lengths and placements before the shoot.

Watch the reel before you read the client logos, and ask how close you will get to the people doing the work. Most of all, settle whether you are buying an event or building a habit, because that one distinction sorts this list better than any ranking can.

Five mistakes I see buyers make

1. Hiring a brand-film house for a hard-sell direct-response ad. The crafts barely transfer between the two: a company that makes beautiful cinematic films may not be the one that moves a product off the shelf, and a direct-response shop can flatten a brand story.
2. Judging on the showreel instead of the relevant spot. A company’s best film tells you little about how it handles your category, so ask for the closest thing to your brief, made at your spend level.
3. Skipping the thinking to save time. A commercial without a clear selling idea is an expensive way to look busy. Lock what the ad is for, and test it as a script or a rough animatic before anyone books a crew.
4. Forgetting where the commercial will run. A 30-second broadcast spot and a vertical paid social ad are cut differently, and our walkthrough of TV commercial production shows how broadcast delivery changes the plan. Give the company the full list of placements while the shoot is still being planned.
5. Comparing quotes that cover different things. Two bids can look far apart because one includes talent usage and music licensing and the other does not. Ask every company for an itemized quote before you compare totals.

Where to find more commercial production companies

Twenty companies make a shortlist, but the market is far bigger than that. For a company in a specific region, the AICP member directory lists members of the Association of Independent Commercial Producers by region, and LA 411 and NY 411 list production companies alongside crews and equipment rentals in those two cities. Clutch is most useful for mid-market studios, since its profiles show minimum project sizes and verified reviews. To see who is behind the spots winning right now, read the Television Academy’s Outstanding Commercial list together with SHOOT’s coverage of the AICP Show shortlists.