At the project initiation stage, first clarify the type of relationship between product and actor.
The core focus of a product TVC commercial is the relationship formed between the two within the frame. This relationship determines lens design, actor performance direction, and post-production compositing methods. At project initiation, the brand must answer one question: is the product the protagonist or a supporting role, and is the actor a user, a witness, or a symbol? This judgment directly affects script structure and budget allocation.
If the product is the protagonist, the actor's actions must revolve around the product; hand close-ups, usage processes, and reaction expressions must all serve the product's selling points. If the actor is the protagonist, the product recedes into a prop or scene element, and the narrative focus shifts to character emotion and story arc. Another relationship is where the product and actor are on equal footing, generating new visual meaning through interaction, such as product personification or contrast between actor and product. At the first meeting, the brand needs to write down the relationship type with the production team and attach reference images to prevent the creative from going off track later.
The evaluation criteria are whether the product's screen time and shot scale in the final cut align with the communication objectives. If the goal is to increase product awareness, product close-ups and feature demonstration shots should account for over 60% of the film. If the goal is to build brand emotion, there can be more shots of the actor's facial expressions and body language. The risk is that brands often demand every angle of the product be clear, resulting in the actor's performance becoming a mechanical display; the audience remembers the product but feels no warmth. The production team should proactively propose balanced solutions, such as using continuous action to let the product naturally enter the frame, rather than hard-cutting to a close-up.
An exception is when the product itself has strong visual impact or a technological breakthrough; the actor can be downplayed, letting the product be the absolute protagonist. But even so, the actor's presence still provides a scale reference, allowing the audience to perceive the product's size, weight, and usage. A product TVC without actors is suitable for abstract concepts or pure CGI demonstrations, but such projects typically require higher post-production budgets and longer production cycles.
Creative breakdown starts with reference footage and script structure.
During the creative phase, the brand should prepare three types of materials: a product selling points list, target audience profiles, and competitor TVC references. The selling points list should be specific to features, materials, usage scenarios, and emotional benefits; the audience profile should detail age, occupation, lifestyle, and viewing scenarios; competitor references should select three to five films with similar styles, noting which shots are worth borrowing and which should be avoided. Based on these materials, the production team writes the script, which must include scene descriptions, actor actions, dialogue or voiceover, product exposure, camera movements, and timecodes.
The script structure usually adopts a three-part format: the opening establishes the context, the middle shows the interaction between the product and the actor, and the ending reinforces the memory point. The opening can be introduced through the actor's daily actions or environmental atmosphere; the middle is a product feature demonstration or emotional connection; the ending concludes with a slogan or a visual symbol. For example, a close-up of an actor's feet while running shows the sneakers' grip, or the sharpness of a knife is presented through the food's reaction while the actor chops vegetables in the kitchen. The script must specify the relative position of the product and the actor in each shot—whether the actor is holding, wearing, close to, or away from it—as this determines the camera placement and lighting plan.
The production team must assess the script's feasibility, including whether the actor can perform the specified actions, whether the product is durable, and whether the location requires special permits. If the script involves high-speed photography, underwater shooting, or complex CGI, the technical plan and budget increments must be confirmed in pre-production. When reviewing the script, the brand should focus on whether the product's selling points are accurately conveyed, whether the acting is natural, and whether the pacing fits platform habits. If the product's screen time is too short or the actor's role is too heavy, revision suggestions should be made.
The risk is that the script relies too heavily on the actor's fame and ignores product features, or the product demonstration is too stiff, making it feel too much like an ad. The solution is to have the actor act as a real user; for example, the actor encounters a problem in the film, the product solves it, and the actor gives positive feedback. This narrative structure can simultaneously build product credibility and emotional resonance. It is not applicable when the product itself has no clear usage scenario, or the brand wishes to express things completely abstractly; in this case, the script can pivot to visual metaphors, but this requires more refined post-production compositing.
Staging techniques for the product and actor during shooting execution.
The core task on set is to let the product and the actor naturally coexist in the same frame. The Director of Photography must design the camera movement trajectories in advance to ensure the product doesn't block the actor's face, and the actor doesn't block the key parts of the product. Common staging methods include: the camera following the actor's movement when the actor is holding the product, the actor moving around the product when it is fixed, or both moving simultaneously while maintaining a relative distance. Each shot must have a clear start and end frame to facilitate action matching during post-production editing.
The lighting plan must balance the product's material and the actor's skin tone. Reflective or transparent product surfaces require separate lighting, and the actor's face needs a soft key light; the two must not interfere with each other. For example, when shooting a glass bottle beverage, the backlight should outline the bottle's silhouette, and the actor's face should use side lighting to add dimensionality, while avoiding light reflecting onto the bottle and creating stray glare. For audio, if the actor has lines or the product makes sounds, use a directional microphone and control environmental noise. Product operation sounds, like button clicks or opening and closing sounds, can be recorded separately and enhanced during post-production mixing.
Actor performance direction should be specific to action rhythm and expression scale. In product TVCs, actor movements are typically more exaggerated or restrained than in narrative films, depending on the product tone. For example, sports products require actors to move with power and a strong sense of speed, while skincare products require gentle movements and relaxed expressions. The director must communicate the emotional goal of each shot with the actors before shooting and provide demonstrations for actions like walking, picking up, and using the product. If the actors are non-professionals, reserve more rehearsal time to avoid repeated NGs on set that cause product wear.
Prepare product spares on set, as multiple takes can lead to product wear or soiling. If the product is food or liquid, prepare sufficient quantities and ensure consistent product condition for each take. When post-production requires CGI compositing, shoot separate empty plates of the product and reference plates of actor actions on set for later matching of lighting and perspective. The risk is that tight shooting schedules on set make it easy to overlook product details, such as whether product labels are consistent or if there are fingerprints on the surface. The producer should assign a dedicated person to check product condition and review playback after each shot.
An exception is when product and actor interaction involves dangerous actions or special effects, requiring the safety team and special effects team to be on set. For example, when an actor jumps from a height, the product must be secured to the body, or the product is used in a high-temperature environment. These scenes must be tested in advance with stand-ins or safety ropes prepared; safety cannot be sacrificed for visual effect. If the product is an electronic device, ensure battery life and heat dissipation to avoid equipment failure from prolonged shooting.
Compositing and color grading of product and actors in post-production
In post-production, handle the visual continuity between the product and actors. The editor selects the best performance takes based on script pacing, ensuring continuous product action and natural actor emotion. If a product position shifts or actor action is suboptimal in a shot, it can be replaced through editing or by using a backup take. The colorist must unify the color tones of the product and actors so the product blends into the scene without being jarring. For example, if the product is metallic, preserve highlight details; actor skin tones should be natural, and the contrast between the two should be balanced.
Compositing work includes erasing accidental elements from the shoot, adding CGI product effects, or replacing product appearance. If the product is a prototype or unreleased version, it may need to be replaced with CGI for the final design. The compositor must match on-set lighting and camera movement, ensuring no continuity errors when the virtual product contacts the actor's hands. If the product is transparent, like a glass bottle or eyewear, handle refraction and reflection to make the product look real.
Sound design should enhance the texture of the interaction between product and actors. Product operation sounds, ambient noise, background music, and voiceover should be layered. Actor breathing, footsteps, and product sounds can be amplified to give the audience a sense of presence. During mixing, ensure product sounds are clear but not harsh, and actor dialogue is clear and intelligible. Subtitles should be placed within the safe area, not obscuring key parts of the product, and the font and color should match the brand tone.
During the review phase, check item by item the presentation of the relationship between product and actors. The brand should watch the final cut and confirm whether product selling points are accurately conveyed, actor performance meets expectations, and the interaction between product and actors is natural. Check whether product color, material, and logo are consistent with the physical object, and whether actor skin tone and clothing are distorted. If product deformation or discontinuous actor action is found, request the post-production team to correct it.
The risk is that excessive post-production compositing makes the product look unreal, or excessive color grading makes the actors look unwell. The solution is to establish reference standards, such as using actual product photos and bare-faced actor photos as color grading baselines. The post-production team should provide different versions for the brand to choose from, such as one version retaining more product details and another emphasizing atmosphere. An inapplicable case is if the product-actor interaction relies entirely on post-production CGI, but budget and schedule are insufficient; it is recommended to adjust the creative approach and reduce the number of composite shots.
Delivery review checklist and version management
Deliverables must include multiple versions, including horizontal and vertical versions, versions of different durations, versions with and without subtitles, and versions encoded for different platforms. Each version must be clearly named, for example, ProductName_Platform_Duration_Date_VersionNumber. The brand must check whether the resolution, frame rate, bit rate, and color space of each version meet the platform requirements. Platform specifications will be updated; refer to the latest official requirements before publication and do not rely on outdated data.
The acceptance checklist must be recorded item by item, including image clarity, color accuracy, sound quality, subtitle accuracy, product exposure duration, actor performance, brand logo display, and copyright information. Each item must be marked as pass or fail, and failed items must include revision notes. The brand must designate a dedicated person responsible for acceptance to avoid delays caused by conflicting opinions from multiple people. The production team must provide a revision schedule and specify a limit on the number of revisions.
Source files must include project files, asset files, color grading versions, audio stems, subtitle files, and the final master. The brand must confirm the source file formats and storage methods, such as whether they include original RAW footage, proxy files, and project files. The scope of rights must be clear, including music licensing, actor likeness rights, location use permits, and product trademark usage rights. These files must be archived for future re-editing or sequel production.
The risk is that incomplete deliverables or version confusion will lead to publication delays. The solution is for the production team to provide a complete checklist before delivery, and the brand will verify against the checklist. If any omissions are found, request immediate completion. An exception is that if the brand only requires specific platform versions, the deliverables can be streamlined, but the master and source files should still be retained. If the project involves overseas release, additional multilingual subtitles and localized versions must be prepared.
Applicable boundaries and inapplicable scenarios
Product TVCs are suitable for the following situations: the product has clear functional selling points to showcase, the brand aims to establish an emotional connection between the product and consumers, or the product requires visual demonstration to be understood. Unsuitable situations include when the product itself lacks visual differentiation, or when the brand wishes to express itself purely abstractly; in these cases, a product TVC may be less effective than a brand promotional video or a concept video.
If the product is a service or software, the focus of the product TVC shoot should be on the user interface and operational flow, and the actor's usage scenarios can be virtualized or use screen recording. If the product is a B2B industrial good, the actor relationship may focus on the product's operation within the production line. If the product is a luxury good, actor selection must be careful to avoid a mismatch between the actor's temperament and the brand's tone.
Budget and timeline are also boundary conditions. If the budget is insufficient to support high-quality actors and post-production compositing, it is recommended to reduce the number of shots or use static product displays. If the timeline is tight, avoid complex CGI and extensive location shooting, and prioritize studio shoots and simple scenes. Brands should honestly assess their own resources and not blindly pursue large-scale productions.
Another boundary is rapid product iteration; if the product is about to be redesigned, the TVC may quickly become outdated. In this case, consider producing a modular video, shooting the product section separately for easy post-production replacement. Alternatively, use AIGC video generation technology to quickly generate different product versions, but pay attention to copyright and authenticity.
Next steps
Before starting a product TVC project, brands are advised to first organize product materials and reference videos, clarify the type of relationship between the product and the actors, and conduct a creative workshop with the production team. Choose a production company with relevant experience and check whether their past work includes cases of similar interactions between products and actors. The ONCE official website publicly lists services covering TVC commercials, brand commercials, product videos, and AIGC video production, which can serve as an alternative reference. However, before formal collaboration, request a detailed proposal and quote, and confirm whether the service scope includes pre-production creative, shooting execution, post-production, and delivery acceptance. Do not rush to sign; first have the production team provide a script draft and storyboard to assess their understanding. The final video's effectiveness depends on the thoroughness of pre-production communication, not on post-production fixes.
If you are preparing a TVC commercial project, you can first organize the brief, reference visuals, product or company materials, delivery platforms, and copyright scope, then review theTVC commercial service pageto move the communication from abstract preferences to executable production boundaries.
