The campaign image system: pricing follows the scope
With the two words 'campaign', one side is five samples for a small occasion, while the other is an entire ecosystem covering multiple channels over several months. The prices on both sides cannot be compared directly.
There is no fixed pricing for the campaign image system because the scope of work varies too widely: the same core idea, the number of channels to cover, the number of adaptations needed, and whether or not to produce a film will determine how much the total cost fluctuates. What really drives the price up is not the beauty or complexity of the idea but the number of touchpoints, the duration of collaboration, and the volume of production involved. The correct way to read prices is to compare within the same scope, not to compare total amounts when the scopes are different.
- A season with fewer channels is less adaptable, using a limited image bank.
- multi-channel, many prefer integrated KOL OOH film production
- Collaborate according to the main idea, using multiple segments to distribute costs.
- Ask how much it costs when the number of channels is unclear and whether there are good films.
- Compare prices between the two parties on the total amount without comparing the scope.
The cost of a campaign visual system does not have a fixed number because the scope of work varies widely. With the same term "campaign," one side may involve a few static samples for a small launch, while the other may encompass an entire ecosystem including long-form films, dozens of adaptations, point-of-sale materials, and toolkits for KOLs. Therefore, the correct way to read the price is by the scope and duration of collaboration, not by subjective feelings of beauty or the package name.
Price does not follow beauty but follows volume.
This is the most important principle you need to keep in mind when requesting a quote. A simple original idea that needs to cover ten channels, produce dozens of adaptations, and create three film lengths will cost much more than a more complex idea that only requires a few static samples. The largest variable in the budget often comes from the replication and production stages, not from the initial idea generation.
Sinh Vũ currently provides pricing based on actual needs, divided into three tiers: focus (one season, few channels), integrated (multi-channel, includes video), and annual (ecosystem with multiple phases). Specific figures are internal information not publicly disclosed, but the pricing structure is based on actual scope rather than a fixed package.
Factors that really drive up prices
- Number of channels and touchpoints to cover: Adding each channel means adding an adaptation (a version adjusted for each format and size), increasing quality control time and review rounds.
- Number of adaptations needed: From a few versions to dozens or hundreds of files depending on the scale. This is often the fastest part of the cost replication.
- Is there film production and new shooting, or are you using a stock photo bank? Film production is a separate item with significant costs, especially when multiple durations are needed (30 seconds, 15 seconds, 6 seconds).
- KOL, OOH, or celebrity integration: Each third party involved requires additional documentation, extra coordination rounds, and often additional image usage clauses.
- Collaboration length: A short season is quite different from an annual contract in terms of both volume and project management.
When the budget is lower, when higher
Lower budget: One season, few channels, limited adaptations, use existing image banks, no film production, no large-scale KOL or OOH integration.
Higher budget: Multi-channel, multiple adaptations, producing longer films, completely new shoots, integrating KOLs, celebrities, or large OOH, collaborating over multiple periods throughout the year.
There is no direction that is absolutely right or wrong; the issue is whether the scope aligns with the brand's goals and resources.
Common mistakes when asking for prices
- Asking "how much does a campaign cost" without specifying the number of channels, duration, and whether there will be film production. This question has no meaningful answer until the scope is clarified.
- Compare quotes between two entities based on the total amount while the scopes are completely different. Such a comparison is like comparing two unrelated things.
- Forget that a strong original idea can be reused across multiple seasons. The original cost will decrease with each reuse, so the investment in the original idea is often the most valuable part of the entire cycle.
The viewpoint of Sinh Vũ
Sinh Vũ delivers the original files (source files) so you can replicate them later, reducing production costs in subsequent seasons. This is how we help make the total long-term costs more reasonable instead of relying on the provider each time a new file is needed.
High-quality creativity yields significantly higher profits compared to weak creativity. The portion spent on strong original ideas is often the most valuable part of the total cost.
Kantar & WARC, The art of proof: how creative quality drives profit.
This means that when considering budget cuts, reducing costs in replication and distribution is usually less damaging than cutting at the original idea stage. A weak original idea that is widely distributed remains a weak original idea, only wasting more money on channel coverage without improving results.
If you are unclear about the true scope of the campaign, the right step is to clarify the objectives and the number of channels before requesting a quote, avoiding a rigid package when the scope is not yet defined.
Decision checklist
Topic: How much does a campaign imagery system cost and what drives the price up. Sinh Vũ guide, sinhvu.com
Select each item you find appropriate, then print or save as PDF to take with you.
If you have marked most of the signs above, this is the time to discuss in more detail. Sinh Vũ can help you review and propose a direction.
References
Kantar & WARC, The art of proof: how creative quality drives profit. Practical experience from Sinh Vũ, service structure P3 (scope, deliverables, three levels).
Frequently asked questions
Why do suppliers ask about the scope instead of just providing a quote?
Since the term 'campaign' can refer to five static samples for a launch or an entire ecosystem including long-form films, dozens of adaptations, and point-of-sale items, the costs of these two scenarios differ greatly. The party that provides a number immediately without asking about the scope is often quoting a rigid package without basis, and additional costs usually arise later.
Is using an old core idea for the next season more cost-effective?
Yes, clearly. The largest costs typically occur during the initial idea development and the production of the first key visual. Once the core idea is established, subsequent seasons mainly involve adaptation and new production, which are significantly lower costs. This is why Sinh Vũ provides the original files for clients to replicate later.
When comparing quotes between two entities, what criteria should be used?
Comparing based on specific scopes: number of channels, number of output files, whether film production is included, number of adaptations, and duration of collaboration. If only comparing total amounts while the scopes differ, the comparison results are meaningless and can easily lead to wrong choices.