Pulzzer finds the channels, screens them on numbers that can't be bought, negotiates the rate and runs the campaign end to end. You approve a shortlist and a script. That is the entire ask on your side.
Nobody chose your pre-roll. They chose the channel. When a host reads your copy in their own voice, a small amount of the credibility they spent years building transfers to you — and that transfer is the entire product. It is why a well-matched ninety-second read outperforms a perfectly targeted banner that nobody looks at.
Which means the match matters more than the reach. A large channel with a disengaged audience is worth less than a smaller one whose viewers act on what the host tells them. Reach is easy to buy. Trust isn't, and it doesn't come in bulk.
That judgement is the work. It is also the part that is hardest to see from the outside, so here is what it protects you from.
Subscriber count is the easiest number on YouTube to buy, and it is still the number most of this industry quotes on. We don't. A channel has to clear our standard before you ever see its name — however good it would look on a media plan.
A large following and a small viewership means you are being sold a number nobody watches. We price on what a video actually does, not on what sits under the channel name.
A back catalogue is not a schedule. If a creator isn't publishing reliably now, your placement is a maybe with a date attached — and you find out weeks after you paid.
Inflated audiences leave a signature. We know what it looks like, we check for it on every channel, and we walk away when we find it rather than passing the problem to you.
Engagement is not intent. A channel can be healthy on every visible measure and still have an audience that has never bought anything a host recommended. This is the hardest call in the job and it is where most of our time goes.
We pull the sponsorship history of every channel before it reaches you. If a direct competitor ran there recently, the audience has already heard that pitch and the host's endorsement of you is worth less — sometimes a lot less. It cuts the other way too: a channel with a clean history of category-adjacent deals has an audience proven to act on exactly this kind of recommendation.
We hold our own record of what channels in each category actually quote, built from every negotiation we run. A rate card that looks reasonable in isolation is often 40% above what comparable audiences go for — and you would have no way of knowing that from the outside.
By the time a name reaches you it has already survived a review you didn't have to run, against standards we've set from watching what actually converts and what quietly doesn't.
You see the evidence, not the assertion. Every channel we put forward arrives with the numbers that earned it a place — so you can disagree with us, which is the point of showing them.
Who you want reached, which markets, roughly what you have to spend and when you'd like it live. One email is enough to start — we'll come back with questions rather than a form to fill in.
Channels that cleared the screen, each with the performance figures that earned it a place and one price per placement, quoted in full. You see the evidence rather than an assurance that we checked.
Rate, deliverable, exclusivity window and usage rights agreed with the creator so you sign one document. Talking points written to fit the host's voice rather than override it, reviewed for claim accuracy, with disclosure handled before anything is filmed. You see the script before the camera turns on.
We confirm publication, verify the disclosure is correct and present, and report at day 7 and day 30 with tracked-link data per placement — including the ones that underperformed and what we think went wrong.
Step three above is one line on the page and most of the invoice. This is what is actually inside it, per placement, every time.
Any one of these is manageable on a Tuesday afternoon. All of them, per placement, across a roster, while a creator is slow to reply and a legal team wants the usage rights redrawn — that is the part people underestimate, and it is the part that quietly eats a marketing manager's month.
We don't qualify by industry — a category label tells you nothing about whether a placement will land. Three things actually decide it.
No setup, no demo, no diagram. If the host can describe what it does in two sentences and the audience nods, it works. If it needs a whitepaper, it doesn't.
Download, sign up, start a trial. A link and a code should be the whole distance between hearing about you and using you.
Not a demographic — a person with a situation. That description is what we match against a channel's actual audience.
You get a single price covering the creator, the brief, the contracting, the compliance check, the tracked links and the report. It isn't a share of your media budget, it isn't billed by the hour, and nothing gets added to it after you've signed.
A single integrated segment on one screened channel. The honest way to find out whether an audience responds to you before committing real budget to the answer.
Paid in full upfront on a first engagement.A run across several channels in the same audience, sequenced over weeks so you can read the difference between them instead of guessing at a blended number.
50% on booking, balance within 14 days of the last publication.A standing rotation. Fresh channels enter every month, the ones that convert stay on for as long as you want them, and the ones that don't are quietly replaced — so the roster sharpens instead of going stale. Repeat volume also buys better rates from creators, and that saving is yours.
Monthly, planned a quarter at a time.Creators are paid on our schedule, not on yours. A slow invoice upstream never becomes a creator's problem — which is exactly why the good ones take our calls the second time.
We don't guarantee views, and you should be wary of anyone who does — nobody controls YouTube's distribution, least of all an agency.
What we do guarantee: the placement runs as specified, the disclosure is correct, the tracking works, and the report tells you the truth including when the truth is disappointing. If a channel we put forward lands well under its own recent average, we say so, we tell you why we think it happened, and it comes off the roster.
From what the channel actually delivers — real viewership on recent videos, and the going rate for that kind of audience — quoted to you as one number before you commit to anything.
You're buying a delivered placement rather than a media plan with line items, and the number doesn't move once it's agreed.
No. We place across languages and markets. The signals we screen on are numbers, and numbers don't care what language a channel publishes in.
Where we don't know a market well enough to have an opinion worth paying for, we'll say so rather than guess at it.
Shortlist same day, named channels within 48 hours. After that the creator's own calendar sets the pace — most publish two to four weeks out, and the ones worth having are booked further ahead than that.
Anyone promising you a strong channel next week is selling you the slot nobody else took.
The creator owns their video. Usage rights for your own channels — paid social, your site, a sales deck — are negotiated per placement and written into the agreement before filming.
We'll always ask what you want up front, because buying those rights after publication costs several times what it costs before.
Rough is fine. We'll come back with a straight answer on whether this is a fit — including when it isn't, and why.