Your best social post, running as a TV ad.

Your vertical video becomes one deliberate element inside a designed 16:9 canvas, and the rest of the frame is built around it. We do not pad the sides, because publishers and verification vendors treat padded bars as a delivery defect rather than a style choice, and on a large screen they read as a repost.

Usually not. The music libraries inside TikTok and Meta are licensed for use on those platforms and their terms exclude television. We either license the track for broadcast and streaming with the term and territory in writing, or we replace the audio with a cleared bed and keep the dialogue.

Almost never under the contract you have already signed. Standard influencer terms, including the SAG-AFTRA influencer agreement, permit exhibition on social feeds, YouTube channels and websites, and they specifically exclude television. Before anything is built we pull each agreement and check the media, the term, the territory and whether derivative edits are included.

They are real when each version renders, and they hold still from there. Your spot is a finished video file, and the browser formats that move a number mid-play, VPAID and MRAID, are not accepted on most connected TV devices. What changes is the file behind the tag. Where the publisher allows a mid-flight swap, we rebuild it so the counts stay close to the post. Some publishers re-audit every new file first, so this is a scheduled refresh, not a live feed. Every version carries its date and we keep the source in case anyone asks.

We set the cadence with you before the flight and write it into the plan. We do not publish a number we cannot hold. Every rebuild is a new file. Where a publisher stitches ads into the stream on its own servers, a new file has to clear that transcoder first, so the earliest requests after a render get skipped, and some publishers re-audit the file before it can run at all. Refreshing constantly would buy you fresher counts and fewer impressions.

No, and be careful with anyone who says it does. We build a light version and a dark one and assign them per placement. Nothing is read off your screen. Which version runs is a decision we make before the flight, the same as the counts: they change between versions, never inside a spot.

Nobody has published independent proof either way, and you should be careful with anyone who tells you otherwise. We treat the social look as a hypothesis and run it against a conventional 16:9 cut in the same flight, with the same audience and the same measurement, so the answer comes from your campaign rather than from someone else's case study.

Very few, and the number is falling. Scan rates on connected TV ads measured about one in ten thousand impressions in the first half of 2025 and fell to roughly four in a hundred thousand by the fourth quarter, according to BrightLine data reported by EMARKETER. A QR code is a cheap extra path worth including, and it is not a business case.

You skip the shoot, which is the largest single line, and that saving is real. You do not skip the work. There are still rights extensions for talent and music, reframing and finishing to television spec, legal review of anything claimed on screen, captions and an audio mix, re-renders across the flight when the counts move, and enough variants that one asset does not run into the ground.