Commercial Video Production

A commercial has one job: make the audience want the thing. Sunlyte Productions produces commercial video for brands across food and beverage, beauty, finance, fitness, and consumer products: films built to perform on the channels where they will actually run, from broadcast-format horizontal to vertical social cuts.

We produce out of San Francisco with small senior crews, traveling nationwide for the right project. Direction, cinematography, editing, and color grading stay under one roof, which is why our before/after grading comparisons look the way they do: the person who shot the frame finishes it.

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What We Produce

Brand commercials

The flagship spot: concepted, shot, and finished for web, social, and paid placements.

Product films

Launch and evergreen product videos with the detail work that makes hardware, food, and beauty products sell.

Campaign packages

One production, a season of assets: hero film, cutdowns, verticals, and stills that all match.

Color grading

LOG-to-final grading as a discipline, not an afterthought: see the before/after sliders across our work.

Social-first commercials

Native vertical spots for Reels and TikTok, planned at the shoot rather than cropped after.

Selected Work

Introducing Aiden Precision Coffee Maker

A product launch video introducing the Fellow Aiden Precision Coffee Maker, presenting its precision brewing technology and design.

At Home Botox

Create a promotional video presenting our at-home Botox project.

People Food

Create a promotional video and photo set presenting Matador SF's food and brand.

Lavender

Capture the beauty of our lavender project in a visual journey.

How a commercial gets made here

Most engagements start from a business goal, not a script. Discovery and strategy translate that goal into a creative roadmap; the treatment, storyboard, and shot list are approved before any camera rolls, which eliminates costly revisions downstream. Production runs with agile senior crews on Sony and Canon cinema cameras, RED, and ARRI, and the edit builds social, web, and broadcast formats from a single shoot.

Finishing is where a commercial earns its polish, and all of it happens in-house: color grading, motion graphics, and sound design with mix and master oversight. The before/after grading sliders on our Persimmon and Lavender case studies show the distance a LOG capture travels to the delivered image, the difference between a product film and a phone video.

What moves the budget on a commercial

Shoot days are the biggest single lever: crew, equipment, locations, catering, and insurance all multiply by the day, which is why a shot list built against a finished edit routinely collapses a two-day shoot into one well-planned day. Deliverables multiply faster than people expect: a hero film, a pre-roll cut, and vertical social placements are separate edits, so they are fixed in the proposal up front.

Crew size is a quality decision as much as a cost one. A controlled product film may need more hands for lighting and grip than a documentary-style brand spot, where a small unobtrusive team is the point. We size the crew to the shoot and keep it senior, which removes the handoff losses that produce footage nobody can quite finish the way it was imagined on the day.

Common Questions

What makes a commercial actually work?

Specificity. A commercial that shows the real product, real service, or real room outperforms generic polish, which is why our productions are built around showing the thing itself, graded to look its best.

Do you handle concept and script?

Yes. Most engagements start from a business goal, not a script. We develop the concept with you, then produce it end to end.

How long does a commercial take to produce?

Our model is built to deliver broadcast quality in weeks, not months: treatment approved up front, efficient scheduling on set, and rapid editorial turnaround with masters shipped QC-ready per channel. Share a launch date and we scope backwards from it.

Can we get photography from the same shoot?

Yes. Persimmon paired a DP and photographer with a camera operator and colorist so stills and motion matched, and Matador SF received a five-image still set alongside its brand film: one look across every touchpoint.

What formats do we get?

Whatever the campaign needs: horizontal masters for web and broadcast, vertical cuts for social, stills where scoped. Deliverables are fixed in the proposal so there are no surprise gaps at launch.