Questions, answered.

Yes. Twelve verticals, each with a senior team that already knows the category's benchmarks, buyers, and the creators who move them. Your program starts with context, not a blank page, so there's no ramp where we learn your industry on your budget.

A generalist applies the same playbook to every brand. An industry team knows what already works in your category, which creators carry real authority, and what a credible result looks like. You skip the discovery tax and get straight to a strategy built for your room.

We build compliance into the brief, not on top of it. That means HIPAA-aware workflows and ISI review for healthcare, substantiated claims and disclosure governance for fintech, and age-gating and responsible-messaging standards where they apply. Growth and compliance ship together.

Tech, beauty, fashion, food & beverage, gaming, entertainment, healthcare, retail, CPG, sports, lifestyle, and travel. Each runs across every major channel — TikTok, Instagram, YouTube, Twitch, and LinkedIn. If your category isn't listed, tell us on the call; we likely have adjacent benchmarks to start from.

Our platform indexes 250M+ creators with 400+ data points each, so we match on audience, affinity, and proven performance in your category — then screen every profile for fraud before a dollar moves. You get a roster built for your buyers, measured against numbers that mean something in your industry.

Yes. Multi-category brands get a lead strategist who coordinates across the relevant industry teams, so each vertical is run by people who know it while the program stays a single, accountable engagement with consistent reporting.

We can activate in as little as seven days, depending on scope. Because the team already knows your category, the first conversation is about your goal and the number we intend to move — not a crash course in your market.

Absolutely. We provide concrete analysis built on tailored personas, categories, interests, and performance requirements. Our suite of solutions is designed to help companies find the perfect influencers, reach target audiences, and build a strategy tailored to specific business goals.

Yes. We have extensive experience navigating state, federal, and international guidelines for promoting products and services in highly regulated industries. Contact our team directly for more on how we can help.

None of the six agencies on this list publishes a starting price, a minimum budget or a rate card on its own website. Any figure quoted for them elsewhere came from somewhere other than the agency. Ask three things instead: what the creator fees are, what the agency fee is as a share of them, and what gets billed separately for paid amplification, usage rights and production. In entertainment the third one moves the number most, because a premiere often carries original production and a licence window that has to run past the release date.

Start with what each agency has actually shipped in your corner of entertainment, because the published work is far narrower than the category label. Open Influence publishes five film and television launches and nothing else. The Influencer Marketing Factory publishes eight campaigns, almost all of them music, for Sony, Universal and Warner. HireInfluence publishes three kids and family television properties sold through a retail range. Seed Marketing publishes five streaming-service campaigns built around live activations and campuses. Monks publishes twelve entertainment cases, seven with figures. NeoReach publishes five, four of them carrying a return multiple. Ask each shortlisted agency for the three campaigns closest to your own brief, with the creator count, the reach figure and whatever business number the client agreed to share.

Expect reach, views and engagement as standard, and treat anything past that as the exception. Across the 33 campaigns with figures on this page, four publish a return multiple and all four are NeoReach’s. One more publishes revenue: Monks reports $700,000+ in sales during the 5 days of ComplexLand. Seed reports 1.2K peak daily sign-ups on its YouTube Premium campaign and 3x more student premium subscriptions on its Spotify programme. Everything else stops at impressions, views, likes, comments and shares. Settle before signing which of those you are buying, because retrofitting attribution onto a reach campaign after launch does not work.

That depends on whether you are buying an activation or a programme. Seed’s Spotify pop-up ran to 4 sold-out days and reports 56.7M impressions. Open Influence’s campaign for Universal Pictures’ Ma told one connected horror story across creators’ Instagram Stories. At the other end, Seed’s All Year Round work for Spotify is described on its own page as a year-round campus programme running across 5 markets, which is why it is counted here as one published case and never as a campaign size. For a dated release the useful question is not how many weeks the campaign runs. It is how much of the content lands before the premiere.

Every figure on this page comes from the agency’s own published case studies, counted on 7 August 2026, and each one is named next to the campaign it belongs to. Two kinds of number were recorded and then never used as a campaign result. Hashtag counters were dropped because they count every video ever posted under a tag, including ones nobody paid for. Follower aggregates were dropped because a creator roster’s combined audience is not campaign delivery. Both exclusions cost points here: NeoReach’s Netflix case publishes 4.6B views on #CobraKaiChop next to 2.8M+ views from paid content, and the second number is the one that counts. Ask any agency for the source page behind a figure it quotes you.

No. A hashtag counter measures the tag, not the campaign. NeoReach’s Netflix Cobra Kai Season 3 case publishes 4.6B views on #CobraKaiChop alongside 2.8M+ views from paid content. The first includes every stranger who used the filter long after the campaign closed. The second is what the campaign delivered. Entertainment produces that gap more than any other category, because fandoms keep posting once a property is in the culture. The Influencer Marketing Factory shows the same split and separates it itself: its #moneydancechallenge case publishes 8,473,527 total reach for the song against 1,500,000 attributed to the creators it briefed.

Three of the ten agencies on this list publish a starting price and seven disclose nothing. The published floors are $25,000 at House of Marketers, $50,000 at NeoReach and $250,000 at Viral Nation. Disrupt Marketing, Obviously, Influential, Ogilvy, Audiencly, Seed Marketing and Edelman publish no figure at all.

For a DTC brand the number moves on creator count, whether paid amplification sits inside the agency's scope or comes out of a separate media budget, how long usage rights run, and whether the agency is also producing content you intend to run as ads. Product seeding costs less in fees and more in units, so compare on total cost per acquired customer rather than on the retainer alone.

Ask what the multiple is measured against before you use anyone's number as a target. Across all ten agencies on this list, three published return multiples survive a read of the write-up behind them: 2:1 for Casper at NeoReach, with 100K targeted website visits and 2.5K+ new customers acquired behind it; 3.4x for Grover at House of Marketers, written up as $3.40 recovered for every $1.00 invested alongside 1,200% monthly order growth; and 13:1 for Toolstation at Disrupt Marketing, with 1.3K tracked purchases behind it.

That is the honest range on this page, and it rests on three campaigns in three unrelated product categories, so it is not a benchmark you can plan against. A fourth multiple in the same pool, the 2.02x on NeoReach's Sam's Club campaign, is measured against $202,736 of influencer media value with no revenue figure attached, which is a comparison to what buying the reach would have cost rather than a payback figure. Treat any multiple quoted without a stated denominator as unmeasured.

Decide the attribution model before the brief goes out, because it changes the creator brief, the link structure and the contract. The published campaigns on this list use three methods.

Unique tracking codes per creator, which is how Disrupt Marketing counted 1.3K purchases on Toolstation off paid amplification. A clean test window with nothing else in market, which is how Obviously attributed 1,596 orders on Banana Phone against a $2,000 ad buy. And platform or post-purchase reporting, which is where a figure like Casper's 2.5K+ new customers acquired comes from.

Each has a failure mode. Codes undercount buyers who never apply them, clean windows are rarely available to a brand already running paid, and post-purchase attribution is self-reported. Agree the window length, the touch model and who owns the tracking links before signing.

The published work on this list is short-burst launch activity rather than always-on retainers, and seven of the ten agencies publish exactly one ecommerce campaign.

Two things set the timeline. Creator sourcing and contracting comes first, and it runs longer when physical product has to ship to each creator before filming, which applies to any seeded campaign. Then the measurement window has to run at least as long as your purchase cycle. A considered purchase behaves differently from an impulse one: Casper's mattress campaign published 100K targeted website visits against 2.5K+ new customers acquired, and a gap that wide only closes over weeks.

Ask each agency for the elapsed time on the campaign nearest yours, from signed brief to final report, rather than for a standard timeline.

Four questions catch most of it.

First, what is the multiple measured against? A return stated against influencer or earned media value is a comparison to what buying the reach would have cost, not money returned. Second, is this one campaign or many added together? Edelman's 18B on the eBay work is an earned media roll-up across coverage, and Ogilvy's Lu from Magalu figures are a character's audience built since 2003. Third, is the headline number a hashtag total, which counts every video any stranger ever posted under a tag? Fourth, will the client confirm it?

Every figure quoted on this page comes from the agency's own published case study and is tied to the named campaign it belongs to. That is the minimum standard for comparing agencies, not proof that the campaign performed.

Seeding is cheaper in fees and it buys a different thing. Sending product without a guaranteed post means cost scales with units and the output is unpredictable in both volume and timing. A paid partnership buys a deliverable, a date and usage rights, which is what a launch with a fixed on-sale date needs.

All three verified returns on this list came from paid creator work. Disrupt Marketing amplified creator content with paid budget and unique tracking codes for 13:1 ROAS on Toolstation. House of Marketers reported 3.4x on Grover from 20 briefed TikTok videos. NeoReach paid seven YouTube creators for Casper integrations and published a 2:1 against campaign spend. Obviously's Banana Phone campaign is the nearest thing here to a low-spend test, at $2,000 of ads alongside creator content for 1,596 orders and a 300% sales lift.

If margin is tight, seeding is a reasonable way to generate content you then license and run as ads, which turns an unpredictable organic output into a controllable paid one.

There is no list price. Cost is set by the creators booked, whose fees scale with audience size, exclusivity and how long you keep the content live, and then by what the agency charges on top. Ask for three lines before comparing two proposals: the creator fees, the agency fee as a share of them, and what gets billed separately for paid amplification, usage rights and production. A quote that arrives as one number hides which of the three is growing.

Yes, and the published examples are the ones to ask for by name. The Goat Agency's LinkedIn and TikTok programme for IBM aimed at a C-suite audience and reports 43M impressions and 68,000 link clicks, with the paid and organic split printed. Socially Powerful ran a TikTok campaign aimed at small businesses that reports 32M views, 2M likes and more than 400,000 new followers. Ask any agency for a campaign where the customer was a company, and for what it measured on that campaign.

It depends what the product is. Consumer apps on this page run on TikTok and Instagram, where the metric is an install. Hardware with something to demonstrate runs on YouTube and Instagram, where a long review keeps returning traffic through search for months. The one business-software campaign here ran on LinkedIn, paired with TikTok to widen it. Match the channel to your buyer rather than to the agency’s strongest case study.

Start with category, not capability. Ask for tech campaigns in your own segment, consumer product or business software, published with figures and a named client. Then check the evidence behind them: what any return multiple was measured against, whether a headline number covers a single campaign or a whole relationship, and whether the reporting reaches an install or a signup rather than stopping at reach.

It depends on the denominator, which is why that is the question to ask first. NeoReach reports 6:1 on TikTok's market entry and states that it was measured against influencer media value rather than revenue. A multiple published with its basis is one you can hold up in a budget meeting. Multiples measured against different denominators are not comparable and should not be averaged, so ask what sat underneath the figure before you accept it: revenue, gross margin, media spend, total programme cost, or a media value the agency calculated itself.

Three checks, in order. Count the tech cases on the agency's own site rather than taking the total it quotes, and note how many carry a figure. Then ask what each headline number counts, because potential reach, delivered impressions, hashtag submissions, paid media impressions and combined follower counts are five different things. Then ask what any return multiple was measured against. An agency that has measured it answers in a sentence.

Look at what each one publishes rather than what it calls itself. The useful test is how much published tech work sits in your own segment, and how much of it reports past reach. A generalist with a deep set in your category is the stronger bet, and on this page the biggest tech sets belong to agencies that work well outside tech too, so the label settles nothing.

Everything: consumer and market research, creator discovery and fraud vetting, casting, strategy and briefs, content production, paid amplification, social and community management, and tracking and attribution. One senior team owns the program from brief to wrap.

Yes, YouTube, TikTok, Instagram, Twitch, LinkedIn and more. We choose the channel mix by where your audience already is and what the objective needs, not by default.

Every creator is screened by our proprietary fraud models for fake followers, engagement pods, and bot traffic before contract, and disclosure governance is built into every brief, so the reach you pay for is real and the content is compliant.

Programs run on our real-time dashboard for ROI, CPM, CPE, spend, and engagement, with conversion and sales attribution piped into your BI stack, so every figure is auditable rather than estimated after the fact.

Conferences, trade shows, expos, product launches and brand experiences. We have activated creators everywhere from CES to flagship launch events, on-site and online.

Yes. We provide photographers, videographers, sound and mic, editors and on-site coordinators — a full production staff so every moment is captured and ready to post.

That is our specialty. A dedicated team manages outreach, coordination and on-site support, so your activation runs seamlessly and stress-free.

Live coverage during the event, plus a library of professional photo and video content, and a post-event report on reach and engagement you can use long after the show.

Every major auction — Meta (Facebook & Instagram), Google, TikTok, Snapchat, and more. We pick the mix by where your buyer converts and what the objective needs, not by default.

No. We can source creator UGC for you, or capture and scale content from a program you already run. Either way, the creative going into ads is real and tested.

Through the lens of return on investment and lifetime value. We track conversions and sales end-to-end with attribution piped into your BI stack, so every dollar is accounted for against the objective you set.

Once creative and tracking are in place, we typically launch initial test campaigns within days, then expand budget behind the winners as the data comes in.

It is sending your product to selected creators and encouraging them to use and share it with their followers. It generates buzz and social proof, and is especially effective for new product launches.

Seeding is gifting, so coverage is organic by nature, but we cast creators with genuine brand fit and brief them clearly, which is what drives strong posting rates and authentic content.

Yes. It is a white-glove managed service — our logistics team gathers addresses, assembles branded care packages, and ships product directly to every creator.

Absolutely. We secure usage rights so the user-generated content from your seeding program can be repurposed across your owned channels and paid campaigns.

Strategy, content and creative, publishing, community management, media planning, and reporting. One senior team owns your channels day to day, brief to wrap.

Every major platform, Instagram, TikTok, YouTube, X, Facebook, LinkedIn and more, chosen by where your audience already is, not by default.

Yes. Our social creatives team produces on-brand assets for every platform, and we can fold in creator-made UGC wherever it strengthens the channel.

Against the goals you set, growth, engagement, reach, and conversions, all tracked on a real-time dashboard rather than estimated after the fact.

A sponsored post lives on the creator's channel with limited rights and FTC disclosure. UGC is made for your channels: you control creation and distribution, own extended usage rights, and pay less because you're not buying the creator's audience.

Yes. Extended usage rights mean you can whitelist and run UGC as performance ads, plus use it on owned social, your website, and lifecycle email.

You temporarily grant a creator control of your brand's accounts to create and post directly to your audience. Promoted ahead of time, it adds authenticity and can drive significant follower growth and engagement.

Typically less than traditional sponsored posts, roughly $–$$ versus $$$–$$$$, because you're commissioning content for your own channels rather than paying for the creator's reach.

As a standard REST API: send standard parameters and receive clean JSON, ready to drop into your enterprise application, BI stack, or internal tools.

YouTube, Instagram, TikTok, Facebook, Twitch and X (Twitter), with creator, audience, post, sponsorship and trend data across each.

Yes. Beyond 400+ standard endpoints we build custom ones. Describe the exact insight you need and we'll tell you whether it's possible, the more specific the better.

Dedicated endpoints detect fake or bot followers, likes and comments, so the audience and engagement figures you pull are real.

Either. Every capability stands alone, buy a single service or combine several into a full program. Most clients start with one and expand as the results come in.

Local Orlando studios take project work from roughly $1,000 to $10,000, covering a small creator activation with limited production. Mid-market agencies generally start around $20,000 per campaign. National full-service agencies typically set minimums between $25,000 and $50,000, because that price covers strategy, contracting, production, paid amplification, and measurement on top of creator fees alone. Ask every agency what sits inside the number and what gets billed on top.

Senior-led from brief to wrap. The same people who scope your program run it and report on it, with no handoffs to junior staff once the work begins.

Not always. It matters when the campaign depends on physical presence: on-site shoots, event coverage, or creators who need to be at a venue on a specific day. It matters much less for campaigns reaching visitors in feeder markets, where what counts is the creator network in New York or Chicago, not the office address. Judge the roster and the named local clients, not the ZIP code.

Every major platform, YouTube, TikTok, Instagram, Twitch, LinkedIn, X, Facebook and Snapchat, chosen by where your audience already is, not by default.

Four to six weeks is realistic for a straightforward campaign: one to two weeks for strategy and casting, one to two for outreach and contracting, one to two for briefing and production. Campaigns needing exclusivity, legal review, or on-site filming run eight to 12 weeks. Anyone promising a launch in days is either working from a pre-existing roster or skipping the vetting.

Every program runs on a real-time dashboard with the metrics that matter to it, ROI, engagement, conversions and reach, tied back to the objective you set rather than estimated after the fact.

Yes, and that is where most of the value sits for Orlando brands. Trip planning generally starts six weeks to six months ahead, so visitor campaigns need to run against feeder-market audiences well before the travel window. That means casting creators whose followings live in the origin cities, not in Florida, and measuring against bookings on a lagged window instead of same-week engagement.

Yes, and most of the best work does. Strategy, content, seeding, paid amplification and events can all run as a single coordinated program under one senior team.

A social media agency runs your owned channels: posting, community management, and paid social from the brand account. An influencer agency works through other people’s audiences, which means creator sourcing, negotiation, contracts, disclosure compliance, and rights management. Some firms do both well. Many list both and are genuinely strong at one, so ask which of the two the team on your account spends its week doing.

Book a strategy call. A senior strategist scopes the right mix of services in the first 30 minutes, then we build the plan and the measurement around your goal.

The baseline is reach, impressions, engagement, and completion rate, pulled from creator-side analytics, not public counts. Stronger programs add tracked links, promo codes, or a matched-market test to connect creator activity to bookings or sales. For Orlando brands with a long consideration window, agree the attribution window before launch. Judging a trip-planning campaign on same-week conversions makes good work look like failure.

TikTok, Instagram, YouTube, Twitch and LinkedIn, with senior operators and official partnerships on each.

By where your audience already is and what the objective needs, not by default. Most programs run across two or three platforms.

Yes. Spark Ads, Partnership Ads and whitelisting are handled in-house alongside the organic creator work.

Yes, including TikTok Marketing Partner status, with platform-specific measurement built into every program.

Absolutely. We coordinate native creative and measurement per platform under one team so the whole program ladders to the same goal.

Pricing is quoted per brief rather than off a rate card, so two proposals for the same work can be built very differently. Ask three things: what the creator fees are, what the agency fee is as a share of them, and what gets billed separately for paid amplification, usage rights and production. Get all three in writing before you compare, because agencies bundle them differently.

They do different jobs. TikTok buys reach quickly and fades quickly. YouTube costs more upfront and keeps returning traffic through search and suggested for months or years. Brands measuring immediate awareness tend to prefer TikTok; brands measuring acquisition cost over a quarter tend to prefer YouTube.

It depends on what the multiple was measured against, so the denominator is the first question: revenue, gross margin, media spend, total programme cost, or a media value the agency estimated itself. A return stated with its basis is the one you can hold up in a budget meeting. NeoReach's Casper campaign is the worked example on this page, at 2:1 on direct sales. Multiples measured against different denominators are not comparable and should not be averaged.

Mid-tier creators, between about 100,000 and one million subscribers, are where most YouTube campaign economics work. Rates leave room for several placements, and audiences are usually more specific. A single large creator makes sense when the goal is a cultural moment rather than efficient reach.

Longer than short-form. Scripting, filming and creator approval run in weeks rather than days, and a dedicated brand video takes longer than an integration inside someone else's upload. The bigger difference is at the other end. A YouTube video keeps surfacing in search and suggested after the campaign closes, so judge the work on a quarter rather than on its first fortnight.

Three checks, in order. Ask for YouTube campaigns published with a named brand and figures attached, then count them yourself on the agency's site. Ask which of those figures are YouTube-only and which are blended across platforms, because the two answer different questions. And ask what any return multiple was measured against. An agency that has measured it answers in a sentence.

Three of the nine agencies on this list publish a starting price and six disclose nothing. The published floors are $50,000 at NeoReach, $50,000 at Influencer and $250,000 at Viral Nation. Famesters, Edelman, Socially Powerful, Audiencly, SAMY and The Goat Agency publish no figure at all.

On Twitch the number moves on stream time rather than post count. A creator contracted for a minimum four-hour live session, which is how Influencer ran the Shelter campaign, prices differently from a short integration. A roster held over months, which is how Famesters ran Playbet.io with five to 10 exclusive broadcasts per streamer, prices differently again.

Ask whether paid amplification and clip licensing sit inside the fee or come out of a separate budget, because on Twitch the clips are usually where the reusable value is.

Ask what any multiple is measured against before you use it as a target. Across the nine agencies on this list, two published return multiples exist and one survives a read of the write-up behind it: 1.9x for Blue Apron at NeoReach, with 42K clicks, 2.2K+ new paying customers and a $250K budget behind it. The other, a 1.3x on Tezos, is measured against $167K of influencer media value rather than revenue, so it says the reach cost less to earn than to buy, not that the money came back.

The downstream numbers published elsewhere on this page give a better sense of range. Famesters reports a $66 cost per first-time deposit for Leon, and 499 registrations and 95 first deposits from seven streamers for Playbet.io. Edelman reports one in seven Halo Wars 2 beta downloads attributed to its own content strand.

Everything else published across these nine agencies stops at viewers, impressions or engagements, and every figure is agency self-reported. Treat all of it as a shape, not a benchmark.

A live broadcast and its recording produce different numbers, so agree which one is the KPI before the campaign starts. Live gives concurrent viewers, peak concurrents, total unique viewers, hours watched and chat activity. The recording and any clips cut from it keep collecting views for weeks, which is why a figure quoted a month later is rarely the figure quoted on the night.

The campaigns behind this list report both kinds and they are not comparable. Edelman published 5,727+ Twitch viewers across more than 80 hours of streamed gameplay for KFC Mexico, a live-session count. SAMY published 140.4K Twitch views for Crocs, a view count. Neither is wrong and neither answers the other.

Fix the metric, the measurement window and the source in the contract, and ask for the platform-side export rather than a screenshot. If the campaign needs a business outcome, put the tracking on the off-stream action: a code, a tracked link, or a follow, which is how Blue Apron counted 2.2K+ new paying customers and NVIDIA Shield counted 25K new followers.

Casting sets the timeline, not production. A Twitch roster has to be checked for viewer geography and schedule availability as well as audience size, and streamers commit their calendars weeks ahead, so the gap between brief and first stream is usually the longest part of the job.

The published campaigns on this list sit at both ends of the run window. Single-moment activations finish in a day: NeoReach anchored the NVIDIA Shield launch on one giveaway stream from gaming creator Syndicate. Repeated-exposure programmes run for months: Famesters contracted seven streamers to host between five and 10 exclusive broadcasts each for Playbet.io, and rehired roughly 30% of creators on the Leon campaign to turn a test into longer-term partnerships. Socially Powerful ran Lenovo Legion as a standing community presence rather than a flight at all.

Decide which of the three shapes you are buying before you ask for a timeline, because they need different budgets and produce different reports.

Ask for a Twitch campaign by client name, with the channel named in the write-up. That sounds trivial and it is where most agencies stop. Across the nine on this list, 17 published case studies carry a Twitch tag in total, and five of the nine publish exactly one.

Three checks separate a real Twitch practice from a line on a services page. Named streamers, because a genuine campaign can name them, as The Goat Agency does with MissMikkaa and Strippin on World of Warcraft. A live mechanic described in enough detail to be checkable, like SAMY's custom in-stream game for Crocs or Edelman's donation mechanic for KFC Mexico. And a number that goes past viewers, which only three of the nine agencies publish on any Twitch campaign.

Be fair about the gap as well. An agency may run Twitch work it never publishes, or publish it without naming the channel. Edelman names a channel on 18 of its 49 published case studies and Influencer on four of its seven, so both almost certainly have more Twitch work than this list can count.

They buy different behaviours. Twitch buys a live moment with a chat attached, so the audience reacts while the sponsorship happens, which is what makes giveaways, in-stream mechanics and demo gameplay work there. YouTube buys a durable asset that keeps surfacing in search and suggested feeds long after the flight closes.

Most agencies on this list brief both. Of the 17 Twitch campaigns behind these nine agencies, 12 also carry a YouTube tag. Famesters published the split on Konami's Tier-1 launch: a 25.98% click-through rate on Twitch against 4.04% on YouTube, but 10.3K of the 14.4K total clicks came from YouTube. Higher rate on Twitch, higher volume on YouTube, one campaign.

Brief Twitch when the product is something an audience wants to watch someone use, and when a live incentive can carry the conversion. Brief YouTube when the content has to keep working after the campaign ends. If the budget covers one roster on both, the reporting gets more useful rather than less.

Creator-economy strategy, platform shifts, campaign benchmarks, and the data behind what actually drives results, written by the senior team running programs every day, not a content desk.

We're a senior-led influencer marketing agency. We run full-funnel creator programs from brief to wrap: strategy, creator selection, content, paid amplification, and reporting, all measured against the outcome you set. You bring the goal. We bring the creators, the data, and the proof.

Regularly, as the market moves. Platforms, formats, and creator behavior change fast, and we publish when there's something useful to say rather than to fill a calendar.

Yes. A strategy call gets you category benchmarks and a read on your exact audience, pulled from our database of 250M+ creators with 400+ data points each.

Where we cite numbers, they come from programs we've run or from our creator-intelligence platform, measured, not estimated. We're careful to separate proven results from industry commentary.

Book a strategy call. A senior strategist scopes the right mix of creators, channels, and measurement around your objective in the first 30 minutes.

Twelve verticals, from tech and beauty to gaming, entertainment, retail, sports, and travel, each with a senior team that knows its creators and benchmarks. We run across every major channel: TikTok, Instagram, YouTube, Twitch, and LinkedIn.

Advertisers work with NeoReach in a few different ways. First, companies work with our managed-service teams to seamlessly launch influencer marketing campaigns at scale. Second, individuals and teams can use our self-service platform to manage their own influencer relationships and run their own user-generated content campaigns. Lastly, enterprise applications use NeoReach as an integrated API solution to power cross-channel social, consumer, and brand insights.

Yes. When it comes to evaluating audience credibility, NeoReach continues to grow its offerings for brand safety and protection from fake or bot followers, likes, and comments, and from accounts taking part in engagement rings to artificially boost reach. Sponsored disclosures are always required and reviewed for every campaign.

Senior strategists, start to finish. The team that pitches your program is the team that runs it — no handoff to juniors learning on your budget.

We’ve been working with creators since before the creator economy had a name — 13 years, $350M+ in managed influencer spend, across every major platform and eleven industries.

Yes. You get a named senior lead plus the operators who fit your category and channels, organized so your program starts with people who already know your space.

Absolutely. The first strategy call is run by the senior strategist who would lead your program, so you meet the people doing the work before anything is signed.

We’re always looking for people who believe the creator economy is the most important shift in marketing in a generation — and would rather prove it than talk about it. Reach out through the contact form.

We're built for brands that take measurement seriously, from scaling challengers to the Fortune 500. Pricing is custom because campaigns are, scaled to scope, channels, and creator tier, and we're transparent about it from the first conversation.

There is no list price. Cost is quoted per brief, set first by the creators you book, whose fees scale with audience size, exclusivity and how long the content stays live, and then by what the agency charges on top. Ask every shortlist for the same three lines: creator fees, the agency fee as a share of them, and what gets billed separately for paid amplification, usage rights and production. A quote that arrives as a single number hides which of the three is growing.

There is no list price. Cost is quoted per brief, set first by the creators you book, and gaming creator fees scale with audience size, exclusivity and how long the content stays live. Two agencies on this page publish what their media cost: House of Marketers reports a $1.21 cost per install on one campaign and $4 on another, and Famesters reports CPMs from $1.55 up to $45.71 depending on the market. Those are media costs, not agency fees. Ask every shortlist for the same three lines: creator fees, the agency fee as a share of them, and what gets billed separately for paid amplification, usage rights and production.

There is no list price, and a New York address does not add a line to the invoice by itself. Cost is set first by the creators you book, whose fees scale with audience size, exclusivity and how long the content stays live, and then by what the agency charges on top. Ask every shortlist for the same three lines: creator fees, the agency fee as a share of them, and what gets billed separately for paid amplification, usage rights and production. A quote that arrives as a single number hides which of the three is growing.

There is no list price, and a Los Angeles address does not add a line to the invoice by itself. Cost is set first by the creators you book, whose fees scale with audience size, exclusivity and how long the content stays live, and then by what the agency charges on top. Production is the variable that catches people out here: a shoot day with talent, a crew and a location costs what a shoot day costs, whoever books it. Ask every shortlist for the same lines: creator fees, the agency fee as a share of them, and what gets billed separately for paid amplification, usage rights and production.

There is no list price. Cost is set first by the creators you book, whose fees scale with audience size, exclusivity and how long the content stays live, and then by what the agency charges on top of them. TikTok adds two lines that other channels do not: paid amplification behind whichever posts perform, and volume, because the platform rewards testing many pieces of content rather than polishing one. Ask every shortlist for the same breakdown: creator fees, the agency fee as a share of them, and what gets billed separately for paid spend, usage rights and production.

There is no list price. Cost is set first by the creators you book, whose fees scale with audience size, exclusivity and how long the content stays live, and then by what the agency charges on top of them. Beauty adds two lines other categories do not: product, because seeding a range across a cohort is a real cost with real logistics behind it, and volume, because a launch usually needs a lot of creators saying the same thing in the same fortnight rather than one saying it beautifully.

Ask every shortlist for the same breakdown: creator fees, the agency fee as a share of them, and what gets billed separately for paid spend, usage rights, production and product.

Senior strategists, start to finish. The team that wins your business is the team that runs your program, with no handoff to juniors learning on your budget. Twelve industry teams mean your program starts with category context, not a blank page.

Four things, in order. It finds and vets creators against your audience rather than your taste. It negotiates fees and usage rights. It briefs and manages the content through approvals and disclosure. Then it reports, which is where agencies differ most. Some hand back reach and engagement. Some hand back clicks, signups or sales. Decide which of those you need before you brief anyone, because it changes the shortlist more than the creative does.

Four things, in order. It finds and vets creators against your genre rather than against a follower count. It negotiates fees, usage rights and exclusivity, which in games also means deciding who gets the build and when. It briefs and manages the content through approvals, embargoes and disclosure. Then it reports, and that is where the agencies on this page differ most. Some hand back views. Some hand back installs and what they cost. Decide which of those you need before you brief anyone.

Only if the work needs a room. Shoots, events, retail activations, a compliance review that has to happen face to face, a client team that wants the strategist in the building on Monday morning: those are real reasons. Creator sourcing, negotiation and reporting are not, and an agency two time zones away will do them just as well. Work out which half of the job needs to be local before you filter on geography, because filtering first is how a good partner gets cut for having the wrong postcode.

Only if the work needs a room, a lot or a crew. Shoots, premieres, press days, retail activations, a creator who has to be on set at seven in the morning: those are real reasons to want people in the city. Creator sourcing, negotiation, briefing and reporting are not, and an agency two time zones away will do them just as well. Work out which half of the job has to be local before you filter on geography, because filtering first is how a good partner gets cut for having the wrong postcode.

A repeatable result comes from a process the agency can describe without telling you the story of one video. That process is how creators get found and picked, how a brief is written so it survives contact with a creator's own voice, how often you post, how quickly a winner gets paid support, and what gets read in the first few days.

The test is simple. Ask for two campaigns run for the same brand some months apart, and ask what changed between them. An agency running a programme will answer with specifics about sourcing and cadence. An agency that got lucky will answer with the story again.

On the closest thing to a sale you can actually get. Reach, views and engagements tell you the content went out and people watched it. They do not tell you whether anything moved. Depending on how you sell, the outcome worth agreeing on is sell-through at a retailer, units shipped in a window, first-time buyers, review volume on the product page, or search interest in the product name.

Agree the measure before the campaign starts, not after. Name the window, name who pulls the data, and write down what the same product did in the equivalent period before creators touched it. An agency that pushes back on that conversation is telling you something useful.

In numbers, not adjectives. Every program is wired to the metric you care about, whether that's reach, conversions, installs, or ROI, and tracked the whole way. We earned FanDuel five dollars back for every one spent and cut World of Tanks' cost per customer by 40%. You get the result, and the proof of how it moved.

Put them side by side and make the numbers comparable first. Ask each agency what its headline metric counts: reach and impressions are not the same thing, potential reach is not delivery, and earned media value is a figure the agency calculated rather than money that changed hands. Then ask for one campaign, one channel, one window, and the result for that. An agency with working reporting sends it back inside a week. An agency that sends a deck instead has told you something.

Audiencly has the deepest title-marketing record with seven gaming campaigns, including a PlayStation 5 launch for Honkai: Star Rail and a European launch for Marvel Snap. Edelman has run two Xbox launches, Halo Wars 2 and the Series X reveal, both at platform scale. Famesters has launch and user acquisition work on YouTube. The rest of the page is live-ops: anniversaries, seasons and events on games that already had players, which is a different job with a different brief.

Ogilvy and Edelman run their global business from the city: Ogilvy has been a New York agency since 1948, and Edelman's global headquarters is on Hudson Street. The Goat Agency calls its 3 World Trade Center floor its North America headquarters, We Are Social's US head office is here, and Billion Dollar Boy runs on two offices, New York and London. The rest are branches of firms based in Paris, Los Angeles, Toronto or the UK, which is worth knowing and is not by itself a reason to cut them.

Two of them. Open Influence is run from its Beverly Boulevard office and publishes no other street address anywhere. Ubiquitous was founded here and is a Los Angeles company. The rest are offices of firms run from somewhere else: Ogilvy, Edelman, VaynerMedia and Allison Worldwide out of New York, We Are Social, Seed Marketing and WE ARE KOMODO out of London, and HireInfluence across Austin, Los Angeles and New York. A branch is not a reason to cut an agency. It is a reason to ask which of its people sit in it, and what they are accountable for.

It depends on what the campaign has to do. If TikTok is one channel inside a brand push that also runs on television, out of home and PR, a network agency keeps a single idea consistent across all of it and that consistency is worth real money. If the job is a TikTok programme that has to keep producing month after month, a specialist has the creator relationships, the format instincts and the reporting habits that come from working one platform every day.

The wrong reason to pick either is convenience. Ask both for the same thing: the campaign closest to yours, and what it returned.

It depends on the job. A beauty specialist knows which creators actually get bought from in your subcategory, how a skincare claim has to be worded, and what a formulation story needs in order to survive a short video. That knowledge is worth paying for when your category is crowded and your product is technical.

A full-service agency is the better fit when beauty is one part of a wider brand push, or when you need paid media, brand accounts and creator work run by people who talk to each other daily. The wrong reason to pick either is convenience. Ask both for the campaign closest to yours, and what it returned.

We don't guess, we search. Our platform indexes 250M+ creators with 400+ data points each, so we match you on audience, affinity, and performance, then screen every profile for fraud before a dollar moves. The right voice beats the loudest one every time.

It depends on what you measure. Reach, impressions and engagement are what an agency will commit to up front. A sale, a signup or a return multiple is what you should ask it to measure alongside them. Set that measurement up before the campaign runs. Retrofitting attribution afterwards is where most first programmes fall apart.

Not quite. Esports work is built around a competitive calendar: leagues, tournaments, broadcast viewership, and the creators who already sit inside a scene. Game marketing is built around a title and a date. Viral Nation is the only agency on this page with a published esports record, and its Call of Duty League campaign reported 96M impressions across a season. If your brief is a league or a tournament, that is the record to read. If it is a launch, it is a different job.

The unit they sell. A communications firm sells earned attention: coverage, impressions, sentiment and stated intent, with creators as one channel inside a larger engagement. A creator agency sells the roster, the content and increasingly the commerce underneath it. This city holds plenty of both, which is why a brief here often goes to two shortlists at once. Decide which unit you are buying before you send it, because a firm built for coverage will not hand back a cost per acquisition and a creator shop will not get you on the morning shows.

Who they work for. A talent agency represents the creator and is paid to get that creator booked, so its job is to sell you their roster at the best rate for them. An influencer marketing agency works for the brand: it picks talent against your brief, negotiates against you rather than for the creator, runs the content and reports the outcome. In this city the two sit close together and plenty of people have worked both sides. Ask which side of the table your partner is on before the first call, because it changes every recommendation that follows.

Sourcing, negotiating and briefing creators takes weeks before anything goes live, and the first flight is mostly a read on which formats and which creators land. The useful signal comes from what happens after that read: the second flight should be narrower, faster and cheaper per result than the first.

Judge an agency on how quickly it changes course rather than on how good the opening week looks. Ask what it would kill after the first flight and how it would decide.

Earlier than most brands plan for, because the constraint is rarely creative. Sourcing, negotiating and contracting takes weeks, and then product has to physically reach the creators, which on an international roster is the step that quietly eats the schedule. If content has to be live the week a range hits shelves, the seeding has to happen well before that.

Ask any agency you are considering to walk you back from your on-sale date to the day the first parcel ships. If they cannot do that in a meeting, they have not run a launch to a fixed retail date.

The network agencies on this page bring awards, scale and a long client list. What they sell is the idea and the ability to run it everywhere at once. The specialists publish more numbers, cost less, and are usually deeper in a single category. If you launch in one market and your board asks about cost per acquisition, a specialist is the better fit. If you are launching in a dozen and the creative is the risk, it is the other way round.

It depends on what you measure. Views, engagements and sentiment are what an agency will commit to up front. Installs, registrations and a cost per player are what you should ask it to measure alongside them. Set that measurement up before the campaign runs. Retrofitting attribution after a launch window has closed is where most first programmes fall apart.

Look for a street address on the agency's own contact or locations page rather than a city name on a footer. Then ask who sits at it: names, titles and the accounts they run. Ask whether the office has its own phone line. Ask where your day-to-day contact will physically be, and where the person who signs off creative sits. None of that is a trick question, and an agency with a genuine New York team answers it in one email.

Look for a street address on the agency's own contact or locations page rather than a city name in a footer. Then ask who sits at it: names, titles and the accounts they run. Ask whether the office has its own phone line. Ask where your day-to-day contact will physically be, where the person who signs off creative sits, and who is on the call sheet if you shoot. None of that is a trick question, and an agency with a genuine Los Angeles team answers it in one email.

Ask. Most published influencer results combine TikTok with Instagram and often YouTube, then report one figure for reach, impressions or engagement. That figure is not wrong, it just does not tell you what TikTok did on its own.

A case study that names TikTok in the metric label is doing it properly. So is one that gives you a platform split when you ask for it. If the agency cannot separate the platforms in a meeting, it will not be able to separate them in your monthly report either.

A delivery figure counts what the campaign put in front of people: reach, impressions, views, engagements, content pieces. An outcome figure counts what happened afterwards: units sold, sell-out against stock, sales value, a retailer ranking, a measured change in what buyers say they will purchase.

Most published beauty results are delivery figures, because they are available on the day a campaign ends. That does not make them dishonest, it makes them incomplete. When a case study does carry an outcome, read who measured it and against what: a percentage over the campaign's own plan is delivery wearing an outcome's clothes.

Long enough to learn something. A single burst tells you whether the creators were right and almost nothing else. Three months of continuous activity gives you enough content and enough data to see which creator type, format and hook work for your product, and that is the output worth paying for. Agree an exit point in the contract anyway.

It depends on where the risk sits. The network agencies here bring awards, scale and a long client list, and Edelman has all three. What they sell is an idea and the ability to run it in every market on the same day. The specialists publish more numbers, cost less, and know your genre. If the launch is the risk and your board asks about cost per install, a specialist fits better. If the idea is the risk and you ship in a dozen markets at once, it is the other way round.

It depends on what you measure. Reach, impressions and engagement are what an agency will commit to up front. A sale, a signup or a return multiple is what you should ask it to measure alongside them. Set that measurement up before the campaign runs. Retrofitting attribution afterwards is where most first programmes fall apart.

Both answers exist on this page and they cost different amounts. Some of these firms have edit suites and shoot space in the building and will deliver finished film. Others brief creators to shoot on their own phones, which is often the right call and is not the same service. Decide which one your campaign needs before you brief, then ask each shortlist to say plainly what it produces in-house, what it subcontracts, and who holds the insurance and the location permits on the day.

Influencer media value is an estimate of what the content and the reach a campaign delivered would have cost to buy outright. A return multiple calculated against it answers the question "what did we get for the money compared with paying for equivalent media", which is a fair question and a common one in this category.

What it is not is revenue. A 6:1 on media value and a 6:1 on revenue describe different businesses, and only one of them puts money in the bank. Ask which basis you are being shown, ask who worked out the denominator, and ask for the nearest revenue figure the agency has even if it is smaller.

Earned media value is an estimate of what the content and the attention a campaign delivered would have cost to buy outright. PR value and media value are the same idea under different names. The question they answer is fair and common in this category: what did we get compared with paying for equivalent media?

What they are not is revenue. A modelled figure with a dollar sign in front of it looks like money in the bank and is not, and different agencies model it with different inputs. Ask which model produced the number, ask what it counts as a view, and ask for the nearest real sales figure the agency has even if that one is smaller and less flattering.

Tell us the outcome you're chasing and the budget you're working with. We'll come back with a strategy, the right creators, and the number we intend to move. Book a strategy call, and the first conversation is about your goal, not our pitch.

No. It means less of what the model reads is on the public record. An agency with no awards scores nothing on industry recognition even when its campaigns work, and an agency that keeps client results confidential scores lower on client impact than one that publishes freely. Read a score as a measure of what you can verify before you sign, not as a verdict on the work.

No. It means less of what the model reads is on the public record. An agency with no awards scores nothing on industry recognition even when its campaigns work, and an agency that keeps client results confidential scores lower on client impact than one that publishes freely. Read a score as a measure of what you can verify before you sign, not as a verdict on the work.

No. It means less of what the model reads is on the public record. An agency with no awards scores nothing on industry recognition even when its campaigns work, and an agency that keeps client results confidential scores lower on client impact than one that publishes freely. Read a score as a measure of what you can verify before you sign, not as a verdict on the work.

No. It means less of what the model reads is on the public record. An agency with no awards scores nothing on industry recognition even when its campaigns work, and an agency that keeps client results confidential scores lower on client impact than one that publishes freely. Read a score as a measure of what you can verify before you sign, not as a verdict on the work.

Both, and in that order if you can afford it. Creator content buys you reach and credibility with people who have never heard of you. A brand account is where the people that content sends you actually land, and it is the only asset in the programme you own at the end.

Agencies differ on this more than they let on. Some only book creators. Some will build and run the account itself, which is a separate discipline with separate staffing. One campaign on this page took a broadcaster's official TikTok account from zero to 50,000+ followers, which is a channel-building brief rather than a campaign brief. Say which one you are buying.

Both, and usually in that order. Seeding puts product in the hands of people who might genuinely like it, and the content that comes back reads differently from content that was paid for, because it was not guaranteed. It is also the cheapest way to find out which creators your product actually suits before you commit budget to them.

Paid partnerships are what you use once you know. They buy timing, a brief that gets followed, usage rights and the option to put spend behind whatever performs. A programme that only seeds has no control over the launch week, and a programme that only pays has never tested anything.

Because it publishes the page. NeoReach is featured rather than ranked, and it carries no score in the list for that reason. Every figure quoted about its work comes from its own published case studies, on the same terms as everyone else’s. The ranking below it is ordered by the model, and the agency in first place is not NeoReach.

Because it publishes the page. NeoReach is featured rather than ranked, and it carries no score in the list for that reason. Every figure quoted about its work comes from its own published case studies, on the same terms as everyone else's. The ranking below it is ordered by the model, and the agency in first place is not NeoReach.

Because it publishes the page. NeoReach is featured rather than ranked, and it carries no score in the list for that reason. It has no New York office and its card does not claim one. What it has is New York clients, and every figure quoted about that work comes from its own published case studies, on the same terms as everyone else's. The ranking below it is ordered by the model, and the agency in first place is not NeoReach.

Because it publishes the page. NeoReach is featured rather than ranked, and it carries no score in the list for that reason. Los Angeles is one of the offices on its own list, alongside Orlando, San Francisco and Austin. Every figure quoted about its work comes from its own published case studies, on the same terms as everyone else's. The ranking below it is ordered by the model, and the agency at the top of that ranking is not NeoReach.

Because it publishes the page. NeoReach is featured rather than ranked, and it carries no score in the list for that reason. Every figure quoted about its work comes from its own published case studies, on the same terms as everyone else's. The ranking below it is ordered by the model, and the agency at the top of that ranking is not NeoReach.

Because it publishes the page. NeoReach is featured rather than ranked, and it carries no score in the list for that reason. Every figure quoted about its work comes from its own published case studies, on the same terms as everyone else's. The ranking below it is ordered by the model, and the agency at the top of that ranking is not NeoReach.

We can activate campaigns in as little as seven days, depending on your requirements. Every brand or agency campaign is a little different, so it's best to contact us directly.

We run it end to end — strategy, creator casting, content, paid amplification, and measurement — all handled by one senior team so nothing gets lost at the handoffs.

Creators are shortlisted for audience fit, vetted for authenticity with our AI fraud screening, then briefed and contracted by a senior team — so the reach you pay for is reach that converts.

Every campaign is tracked to real outcomes on a live dashboard — reach, engagement, and the conversion or sales metrics the brand cares about, in real time rather than a slide deck a month later.