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Commercials
Agency-led, direct-to-brand, broadcast, digital, social and integrated campaign production.
Production Services
ProductionServices
Production built to hold up under pressure. Funbomb handles the people, planning and physical execution behind commercials, branded work, music videos and select narrative projects.
Los Angeles / Nationwide / Select International
Lower Bob's, Oakland · shot on Flower
CommercialsBranded ContentBrand-Funded EntertainmentMusic VideosFilm + Narrative
Bring us the idea
We'll build what it takes to make it.
Sometimes the creative is locked and you need a production company to execute it. Sometimes the director is attached, the agency has the campaign, and somebody needs to turn all of it into a real budget, schedule, crew and production plan.
Sometimes the objective is clear but the creative team still needs to be assembled. Funbomb can step in at any of those points.
We build the production around the idea, put the right people in the right positions, and take responsibility for carrying the project through production and delivery.
One production company. Clear accountability. No mystery about who owns the production problem.
Brands I've made things for
What we produce
Different formats. Sameproduction discipline.
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Branded Content
Story-driven work that gives the brand room to be more than a product shot and a call to action.
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Brand-Funded Entertainment
Films, series, documentaries and entertainment built with brands that want to earn attention instead of interrupting it.
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Music Videos
Performance, narrative, choreography, practical builds and ambitious concepts that need a team capable of keeping up.
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Film + Narrative
Features, shorts and proof-of-concepts with real budgets and a serious path toward production.
Full-service physical production
The creative can be ambitious.The production still has to work.
Funbomb can manage the job from initial scope and bid through prep, production, wrap and delivery. The infrastructure scales to the project rather than forcing the project into a preset model.
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Plan It
- Production Leadership
- Executive producing, production strategy, department leadership and physical execution.
- Budgeting + Scheduling
- Breakdowns, schedules, bids, production budgets, revisions and cost planning.
- Production Accounting
- Cost tracking, accounting support, purchasing controls, reporting and actualization.
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Staff It
- Crews + Department Heads
- The right crew and department heads for the scale, location and creative.
- Casting + Talent
- Casting partners, talent logistics, fittings, rehearsals, travel and coordination.
- Union Coordination
- Union and nonunion production with the right payroll, signatory and business-affairs partners.
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Move It
- Locations + Permits
- Scouting, permits, site logistics, company moves, parking and basecamp.
- Equipment + Vendors
- Camera, lighting, grip, sound, stages, vehicles, fabrication and vendor management.
- Travel + Logistics
- Crew travel, accommodations, transportation, freight and production offices.
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Cover It
- Payroll + Insurance
- Entertainment payroll, workers' compensation, production insurance and certificates.
- Safety + Specialty Production
- Stunts, vehicles, weapons, water work, minors, animals and specialty oversight.
- Post + Delivery Oversight
- Post workflow, finishing, deliverables and asset coordination when the scope calls for it.
The exact team changes. The standard does not.
Production Planning + Feasibility
Before the money moves, the plan needs to hold up.
Not every project needs a full production company on day one. Sometimes the first requirement is figuring out whether the thing can actually be made.
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Pre-Bid + Feasibility
Break the creative down, pressure-test the schedule and budget, and identify what the project actually requires before commitments are made.
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Independent Review
Audit budgets, bids and production assumptions created by another team to find missing costs, weak logic, exposure and unnecessary spend.
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Production Options
When the first version does not fit, change the schedule, geography, methodology or spend so the plan works without gutting the idea.
The goal is to make projects cost effective while protecting what actually matters on screen.
How Funbomb scales
Built around the project.Not a presetproduction model.
We scale the crew and infrastructure to the job. A tabletop shoot, a two-city music video and a feature do not need the same machine. You get the team the work actually requires.
Where Funbomb fits
Bring us the brief, treatment, script, or production problem.
For Agencies
You own the campaign. We own the production.
Bring us the boards, treatment, director or awarded creative. We can bid it, build the production, manage physical execution and work alongside your agency producer or production department from prep through delivery.
For Brands
Direct-to-brand without cutting corners.
Bring us the campaign, objective, script, treatment or problem. If the creative team is attached, we produce it. If it is not, we can help assemble the right director and creative partners around the job.
For Production Companies
A capable production partner when you need one.
Funbomb can support another production company with budgeting, scheduling, local execution, producing support, physical production or a trusted team on the ground.
For Funded Narrative
Real planning for projects headed toward cameras.
Scheduling, budgeting, production planning, consulting and full physical production for films with financing and a serious path toward production.
What that looks like
Four different problems. Four productions that worked.
Selected productions
Missy Elliott
I'm Better
Music video. 200+ crew, two cities. dir. Dave Meyers, Atlantic.
Vertical
Inside Man / Gemini Lounge
Feature, producer p.g.a. dir. Danny Abeckaser.
Independent
Wesley
Independent short film. dir. Travis Andrade.
Toyota
Paper Drift
Commercial with Papadakis Racing, for Saatchi.
After Wrap.
Where will it live?What versions are required?What else is worth capturing?How does the work keep earning attention?
Thinking past the shoot
Production should serve the work after everyone goes home.
We think about where the work is going before production locks itself into a single output, including the platforms, versions, cutdowns and additional assets worth capturing while the people and infrastructure are already there.
Consulting Producer
Senior production judgment without handing us the entire production.
For funded narrative projects, agencies, brands or production teams that already have infrastructure but need another experienced producer in the room.
Budget + schedule reviewProduction feasibilityCreative-versus-cost analysisBid reviewCrew + vendor strategyProduction planningRisk assessmentLive problem solving
Let's Talk Production →
Production FAQ
These are the questions that matter once the brief is real, money is moving and somebody has to be accountable for the answer.
We break the creative down against the conditions that actually drive production: shoot days, locations, talent, crew, builds, equipment, travel, union requirements, specialty elements, post needs and schedule compression. Then we pressure-test the assumptions. If the creative and the resources do not agree, that conversation happens before the expensive decisions are locked.
Most budget problems begin before production starts. The first defense is a realistic scope, schedule, budget and set of assumptions. During production, costs are tracked at a level appropriate to the project and changes are treated as production decisions with corresponding cost and schedule implications. The goal is visibility while there is still time to do something about it.
Then we produce. The job is to understand which parts of the idea create the value and which parts are simply expensive. We look at schedule, geography, locations, methodology, crew structure, art department, equipment, casting and other production variables to protect the intent without pretending the budget is unlimited. Sometimes the answer is spending differently. Sometimes it is simplifying. Sometimes the honest answer is that the budget needs to change.
They scale with the project. Depending on the size and deal structure, that may include production accounting, cost tracking, purchasing controls, approvals, hot costs, cost reports and final actualization. A smaller production should not carry the same accounting structure as a large commercial, but both should have a clear understanding of where the money is going.
Yes. We do not need to replace a functioning production department to be useful. Funbomb can operate as the production company underneath an agency team, support an internal brand producer, work alongside another production company or take responsibility for the complete physical production. The role gets defined around the job.
Yes. Funbomb works across union and nonunion production and can coordinate the appropriate payroll, signatory, business-affairs and production infrastructure based on the requirements of the job.
Yes. Production planning, budgeting, scheduling, budget audits, bid support and feasibility work can all be scoped independently of a full production engagement.
We are based in Los Angeles and produce throughout California and across the United States. When the project calls for it, we can also build or partner with production teams internationally. The location follows the creative, budget and practical requirements of the job.
Production is dynamic. Weather changes. Locations disappear. Talent schedules move. Equipment fails. Creative evolves. The work is identifying the meaningful risks early, putting experienced people around them, creating workable alternatives and keeping decision-making clear when conditions change. The objective is not pretending nothing will go wrong. It is making sure one problem does not become five.
On time and on budget is the baseline. The creative should survive production. The correct assets should be delivered properly. The production should support how the work is actually going to be distributed and used. And when there is an opportunity to create more long-term value from the same production investment, we should identify it before the set is gone.
Send a brief, or let's talk production.
Email the brief if the scope is already defined. If it is still taking shape, book the call and we will figure out what the project actually needs.