Key takeaways
- Productions are temporary companies that need dozens of suppliers in a few weeks of prep — timing your outreach to prep is everything.
- Purchasing is spread across departments. Know who buys what: production managers, coordinators, location managers, art, wardrobe, transport and accounting.
- A film-ready supplier has a clear rate card, an insurance certificate ready to send, fast quotes, flexible hours and clean invoices.
- The best marketing channels are being findable during prep (directories), being recommended (relationships) and being remembered (consistent, useful contact).
Film and television productions are some of the most valuable — and most misunderstood — customers a local business can win. A single series can spend millions of dollars in a region over a season, buying everything from lumber and lighting to lunches and laundry. Yet many business owners never see a cent of it, because productions do not buy the way other customers buy.
This playbook explains how productions purchase, who makes the decisions, and what you need to do to become a supplier they call first. It draws on what we see every week helping businesses reach productions in British Columbia and Ontario.
Understand how productions buy
A production is a temporary company with a fixed budget, a fixed schedule and an enormous amount to do. Most go through four phases:
- Development — writing, financing and packaging. Very little local spending.
- Pre-production ("prep") — usually several weeks to a few months. The production office opens, departments hire crew, scouts lock locations and most supplier relationships are set up.
- Production ("shooting") — the busiest spending period. Purchases are frequent, urgent and often needed the same day.
- Post-production and wrap — editing, VFX and sound; the office winds down, returns rentals and pays final invoices.
The lesson: prep is your window. If a production first hears of you halfway through shooting, they may already have a supplier for what you sell. If they find you during prep — when a coordinator is literally building a vendor list — you have a real chance.
Know who buys what
There is no single "purchasing department" on a production. Buying power is distributed across departments, each with its own head and budget. Here is a simplified map:
| Department / role | Typical purchases |
|---|---|
| Production manager & production coordinator | Office space, furniture, IT, phones, courier, office supplies, accommodation, travel, medics, general services |
| Locations | Location fees, security, traffic control, parking, portable toilets, waste, cleaning, signage, tents, heaters |
| Art department & set decoration | Lumber, hardware, paint, signage, furniture and décor rentals, antiques, greens, graphics, fabrication |
| Construction | Building materials, scaffolding, tools, metalwork, welding |
| Props | Specialty items, food styling, weapons (licensed), electronics, picture-perfect duplicates |
| Costume / wardrobe | Clothing, fabrics, alterations, dry cleaning, laundry, rentals |
| Hair & makeup | Products, wigs, prosthetics, trailers |
| Camera, grip & electric | Equipment rental, expendables, generators, batteries, lifts |
| Transport | Trucks, vans, picture vehicles, fuel, mechanics, driver services |
| Craft services & catering | Meals, snacks, coffee, water, specialty dietary items |
| Accounting | Payroll services, banking, insurance — and paying your invoices |
Market to the people who actually buy your category. A furniture rental company should know set decorators and buyers; a catering company should know production managers and craft services; a security firm should know location managers.
Become "film-ready"
Productions are risk-averse buyers under time pressure. Before they try a new supplier, they want evidence that you understand how film works. A film-ready supplier has:
- A film rate card. Clear daily, weekly and monthly rates (film rentals are commonly quoted as "a week is three or four days" — know your market's convention), delivery fees, overtime and minimums.
- A certificate of insurance on request. Productions often require commercial general liability and want to be named as additional insured. Being able to send a certificate the same day is a big advantage.
- Simple vendor paperwork. Business registration, GST/HST number, banking details for payment, and a contact who answers.
- Purchase order discipline. Reference the production's PO number and department on every invoice; productions code costs carefully for budgets and tax credits.
- Flexible hours. Early calls, late wraps and weekend pickups are normal. If you can accommodate them, say so prominently.
- Discretion. Productions value confidentiality. Do not post photos of sets or talent without permission — ever.
If this sounds like a lot, our Production-Ready Vendor Onboarding service exists to help you set it up properly once.
The marketing channels that work
1. Be findable during prep
When a coordinator needs "portable heaters, Langley, tomorrow 6 a.m.", they search. Industry directories, production guides and search engines are where that search begins. Make sure you are listed in the right categories with current contact details, service areas and hours. A Featured Directory Listing places you higher in our BC and Ontario directories and adds photos, film credits and a direct contact button.
2. Be recommended
Film is a referral industry. Crew members move between productions constantly and take their trusted supplier lists with them. Every great experience you give a department is marketing to the next five productions that person works on. Ask satisfied contacts for introductions and keep in touch between shows.
3. Be remembered
Consistent, useful contact keeps you top of mind: a short seasonal update, a new-inventory announcement, a "we're open early through the holidays" note. Avoid generic mass emails; tailor messages to departments. Our Film Industry Marketing Campaigns combine targeted outreach to production offices with content and directory visibility, timed to production cycles in each province.
4. Tell your story
Productions like working with people who understand the craft. Case studies (shared with permission), behind-the-scenes posts approved by the production, and clear explanations of how you solve problems on set all build credibility. Sponsored features on Hollywood North are one way to reach the film community with that story, clearly labelled as sponsored.
5. Show up
Industry events, guild and union mixers, trade shows and training days put faces to names. Bring a simple one-page rate card and an easy way to follow up.
Pricing for productions without racing to the bottom
Productions are budget-conscious, but they pay for reliability. Rather than discounting, consider:
- Package pricing for a season or a block of episodes.
- Rush fees that are transparent and reasonable — productions accept them when the value is clear.
- Loss and damage policies that are written down and fair.
- Payment terms that match production accounting cycles, with deposits for custom work.
Mistakes that cost suppliers the job
- Waiting until shooting to introduce yourself.
- Not answering the phone outside 9-to-5.
- Sending a quote without clear rental periods, delivery and pickup terms.
- Being unable to provide an insurance certificate quickly.
- Posting about the production on social media without permission.
- Invoices without PO numbers or with unclear line items.
Measure what matters
Track where each production enquiry came from, how fast you responded, your quote-to-booking rate and repeat business by department. Over a season, you will see which channels and which departments are worth your time — and which types of productions (series, features, commercials, unscripted) fit your capacity best.
Frequently asked questions
Do I need special insurance to supply productions?
Many productions require suppliers to carry commercial general liability insurance and to name the production as additional insured on a certificate. Requirements vary — talk to your broker and keep a certificate template ready.
How long does it take to win film work?
Some businesses book work within weeks of being listed; others build relationships over a season. Consistency during each production's prep window is the key factor.
Can a small business compete with established film suppliers?
Yes. Productions value responsiveness, flexibility and local knowledge, especially on location shoots and in regional areas where established suppliers may not operate.
Ready to reach productions? List your business, try the marketing estimator, or talk to our team.
