Fifty-one creator films from live campaigns — automotive, BFSI, real estate, apparel, QSR, packaged food, baby care, healthtech and pharma. Not a mood reel. Each one is a real deliverable from a real roster, with the brief it was built to answer written underneath it. If you are shortlisting an influencer marketing agency in India, this is the page that tells you whether we have made the thing you need before.
1,500+
Creators activated across campaigns
400M+
Cumulative video views delivered
100+
Influencer campaigns run end to end
16
Categories represented on this page
13+ yrs
Building brands since 2013
350+
Projects delivered for brands worldwide
10+
Countries served, from India outward
4.8/5
Rated by 250+ clients
Pigeon sells maternity and baby-care products to an audience that researches harder than almost any other. We built the roster around parents who were already answering these questions in public, briefed for demonstration rather than endorsement, and ran it as a single connected window instead of scattered one-off posts. These are the numbers the campaign returned.
25–30%
Surge in website traffic during the campaign window
10%+
Engagement rate across posts and stories
20+
Unique, brand-aligned posts and reels produced
50,000+
Vetted creators in the network the roster was drawn from
The children’s oral care range shown in use — finishing toothbrush, toothpaste, and a child who is actually brushing. The claim is habit, not whiteness.
A day in a nine-month routine: cleanser, bottles, toys, teeth. The range appears where a parent would already be standing.
Figures are DigiStreet Media’s own campaign reporting for this engagement. They describe one campaign in one category and are not a promise of what a different brief will return — what travels between campaigns is the method, not the number.
Grouped by brand, in the order the briefs came in rather than by how pretty the footage is. Every film below was delivered as part of a paid campaign — creator sourced, brief written, content approved, rights negotiated, results reported. Click any tile to play; nothing loads until you do.
Three cuts for one electric SUV launch: a drive film, a brand film and a detail film. The roster was built so the same vehicle could be sold three different ways in the same week.
A walkaround and highway drive. The car is the subject; the creator is the reason anyone watches past the first three seconds.
Coastal aerials cut against a roadside tea stall. The opener of the roster — it sets a tone the product films can then trade on.
Interior, dashboard and a night drive. Detail shots close the sale that a wide shot only opens.
Financial products do not sell on vibe. This set puts the offer on screen — the card, the currencies, the actual discount page — inside a travel story people will still sit through.
A travel creator explaining a multi-currency forex card mid-trip. The number does the work: up to sixteen currencies on one card.
Conversational, shot at home. The offer arrives after the story rather than before it, which is why it is a minute long and still finishes.
A screen recording of the live offer page next to the resort it pays for. In BFSI, proof on screen beats a claim in voiceover.
The same card, a different job. Where the travel set sells the trip, the lifestyle set sells the Wednesday — duty free, online shopping, the small discounts people actually remember.
The multi-currency card used the way most people use it — online, from a sofa, not at a foreign exchange counter.
A duty-free haul with the discount stated out loud at the end. Haul formats carry offers better than offer formats do.
A longer talking-head piece for the audience that wants the terms before the pitch.
Menswear sells on fabric and fit, which is the hardest thing to do in nine seconds. These run longer on purpose: the garment gets handled, worn and moved in before anything is claimed about it.
A suit unpacked from the garment bag, lining shown, texture described by someone wearing it rather than a voiceover.
Styling for work occasions, shot as a pair so the range reads as a wardrobe and not a single product.
Thirty seconds on occasion wear, timed to the wedding window when the search demand is already there.
Food does not need explaining, it needs shooting close. Two counter-to-camera films built for appetite appeal and an offer at the end.
The counter, the pick, the first bite, and the offer — in that order, because reversing it loses the viewer.
A shareable box opened on camera. The format sells the occasion rather than the single item.
Real estate is the hardest category for influencer work: high ticket, long consideration, and an audience that has heard every claim. Six films split the job — comedy for reach, walkthroughs for intent, and a construction-progress film for the buyers who have already paid.
A founder-led walkthrough with the ten-acre aerial. Credibility in this category comes from a face that can be held responsible.
A comedy skit about the relative who has an opinion on your flat. Written for reach, not for enquiry — and it is the piece that gets shared.
A show-flat walkthrough at eye level. No drone, no music swell — just the rooms in the order a buyer would see them.
A local creator at the gate, addressing the city by name. Geography is the targeting.
The pre-launch offer sold through the neighbourhood — food, access, what the address gets you.
Two minutes on site with the project team. Progress films are for existing buyers, and existing buyers are where referrals come from.
Three registers for one developer: a channel-partner walkthrough for intent, a teaser for anticipation, and a heritage-walk film that sells the location rather than the floor plan.
A channel-partner walkthrough listing amenities against what is actually visible on site.
Fifteen seconds of stage and red curtain with no reveal. Teasers only work if the follow-up is already scheduled.
The neighbourhood as the product. For a project inside a historic quarter, the walk is the pitch.
A coatings brand cannot demo in a studio. These are shot in real homes, over real furniture, with the objection answered on screen — odour, safety, UV.
Garden furniture being coated, with the UV claim stated over the shot that proves it.
A water-based PU coating on an old bookshelf, with the odourless claim placed exactly where a parent would object.
Interior furniture finished on camera. The category is bought on finish, so the camera stays close.
Occasion menswear lives and dies in the festive and wedding windows. Short, high-frequency cuts built to run daily through that window rather than once with a large budget.
The rail, the pick, the try-on. A store film that also works as a location tag.
Sixteen seconds, one outfit, one location. The format the feed rewards during festive season.
Detail on weave and lapel. Fabric shots are what stop the scroll in this category.
Instant food is sold on the result, not the packet. Every cut here ends on a finished dish and starts on the problem it solves.
The packet opened, the gravy made, the dish plated — one continuous logic, no cutaway to a brand card.
A snack recipe built for the length of the attention span it is competing with.
A baked corn dish shot overhead. Food creators own this framing, so the brief was written for it.
A low-sugar range sold through festive sweets, made with a food creator whose audience already bakes. The product appears where it belongs — in the mixing bowl, not next to it.
A festive sweet made start to finish with the low-sugar sachet in the recipe rather than in a product shot.
Texture close-ups doing the persuading. In baking content, consistency is the claim.
Marigolds, diyas and a finished plate. Seasonal dressing is cheap and it doubles the shelf life of the asset.
A commodity category with no obvious story, so the story is the routine — the daily habit the product fits into, filmed in the kitchen where the decision is actually made.
Cooked, not styled. The brand mark stays on screen while the pan does the work.
Cashews poured into a bowl as part of a morning routine. Habit framing outperforms benefit framing in this category.
Almonds and nuts positioned against a specific occasion rather than general health.
Wellness creators are trusted because they are boring about it. These films keep the pace slow, the claims small and the product inside a routine.
The bottle, held and used. In a category full of promises, the demonstration is the differentiator.
Brewed and poured on camera. The audience for this is watching for the ritual as much as the result.
A minute of first-person experience. Longer than the feed likes, and it holds because nothing is oversold.
App installs need the interface on screen. One fitness film for reach, one screen-recorded walkthrough for intent, one testimonial for the gap in between.
Gym content as the top of the funnel. The app is the answer to a question the film sets up first.
Membership plans, symptom checker, video consult — recorded from the app rather than described.
A first-person account from a user the target audience recognises as themselves.
Regulated categories carry the tightest briefs we work to: no outcome claims, no before-and-after, no implied prescription. What is left is education — and it converts, because nobody else is doing it carefully.
A supplement film that stays inside what can be claimed, with a doctor-adjacent framing rather than a doctor.
An online pharmacy saving shown as a real cart total before and after substitution. Numbers on screen, not in voiceover.
A movement demonstration paired with a device. Utility first — the product is the last thing introduced.
Parenting audiences do not tolerate a hard sell, and they research more than any other segment we buy for. These are education-first pieces where the brand is credited, not shouted.
A new-mother creator answering the question she gets asked most. The format is a reply, which is why it reads as help rather than advertising.
Activity-led child development content, built around a promise small enough to be believed.
None of the above happens because a creator liked the product. Each film is the output of the same four-stage process, and the stage most agencies skip is the third one.
Step 01
PlanningWe work out the creator mix before we work out the budget — how many nano, micro and macro creators the brief actually needs, and what each tier is there to do. Storylines are written per creator, not copied across the roster.
Step 02
ExecutionOnboarding, brief alignment, contracting and content creation. Usage rights are negotiated at this stage rather than after a post performs, which is when they get expensive.
Step 03
MonitoringLive tracking through the campaign window. Formats that are working get more budget, formats that are not get cut before the second wave rather than after it.
Step 04
ReportingA performance report with the numbers and what we would change. Best-performing content is handed over for paid amplification, because organic reach is the test and paid is the scale.
Most agencies will not put this on a page. We will, because the first question every brief arrives with is “what will this cost”, and a range you can plan against is more useful than a form. Below is the rate card creator quotes actually land in, three budget shapes we build most often, and our own fee — stated plainly.
| Tier | Typical rate | Roughly | What this tier is for |
|---|---|---|---|
| Nano | ₹10,000 – ₹15,000 | Up to ~25K followers | Volume and credibility. Cheapest cost per piece, highest engagement rate, and the tier that makes a campaign look like people rather than an ad buy. |
| Micro | ₹30,000 – ₹1,00,000 | ~25K to 250K followers | The workhorse. Good production quality, a defined niche, and enough reach that a single post is worth optimising. |
| Macro & celebrity | ₹1,00,000 – ₹25,00,000 | 250K and above | Recognition. One face the category already trusts, usually carrying the announcement while the smaller tiers carry the demonstration. |
Rates are per deliverable and quoted by the creator, not by us. Where a creator sits in a band depends on niche, engagement, exclusivity and how much of the script you want to control — a 60K-follower finance creator can quote above a 300K-follower lifestyle one.
Test the category
₹2 lakh
Creator budget, one window
~12 piecesEnough to learn which format works before you spend on the format that does.
Festive or launch
₹5 lakh
Creator budget, one window
~14 piecesThe shape behind most of the campaigns on this page. Below ₹2–3 lakh a festive campaign is not worth running.
Flagship
₹15 lakh+
Creator budget, one window
25+ piecesWhere a campaign stops being a content buy and starts behaving like a media plan.
These are illustrative mixes, not packages — the split moves with the category, the platform and who is actually available in your window. Creator budget is what reaches the creators; our fee is separate and stated below.
₹50,000 + GST, or 10% of the overall media management — whichever is higher. On a ₹2 lakh campaign that is the flat fee. Past ₹5 lakh the percentage takes over. There is no markup hidden inside the creator rates, and you see what each creator quoted.
Festive and wedding season rates sit above the rest of the year, and the good creators are committed by late August. Booking in July buys you both a better rate and a better roster.
Organic-only is the cheapest quote you will get. Paid usage, whitelisting and long usage windows each add to it — but they cost far less agreed up front than renegotiated after a post takes off.
A creator writing in their own voice quotes lower than one reading your script. Regulated categories — pharma, BFSI — need the tighter version, and it is priced accordingly.
Asking a creator not to work with a competitor for three or six months is a real cost to them, and it is priced as one. Worth it in narrow categories, wasteful in broad ones.
Every number here is what we quote and what creators quote us — not an industry average. For the longer version, including how festive budgets get split across the season, read our festive influencer campaign cost guide, or send us the brief and we will price it against your actual window.
The campaigns on this page produced between two and six films per brand per window. A festive or launch window typically needs more — the Pigeon campaign above produced 20+ unique posts and reels, and the Vega festive programme produced seven films across Navratri, Diwali and wedding season.
Volume matters because a feed that sees the same asset for six weeks stops watching it. One large film cannot cover four different moments.
Nano creators start at roughly ₹10,000–15,000 per deliverable, micro creators run ₹30,000 to ₹1 lakh, and macro or celebrity talent runs from ₹1 lakh up to ₹25 lakh. For a festive campaign we would advise a minimum spend of ₹2–3 lakh and then amplifying the content through paid.
Our own fee is ₹50,000 + GST or 10% of overall media management, whichever is higher. The full rate card, three worked budgets and what moves the number are in the pricing section on this page.
Yes — we negotiate usage and ad rights with creators as part of onboarding, before the content is made. That means the films that perform organically can be run as paid ads under the brand handle or the creator handle without a second negotiation.
This is the single biggest cost difference between a campaign planned properly and one rescued after the fact.
The work on this page covers automotive, banking and financial services, real estate, apparel and occasion wear, QSR, packaged food, home improvement and coatings, baby care, wellness, healthtech and pharma.
Regulated categories — pharma, healthcare, financial products — carry the tightest briefs, and we have delivered inside them without outcome claims or implied prescription.
Yes. When a brand needs the volume but not the audience, our UGC video agency shoots creator-style content in batches, and our AI video production team generates ad films without a shoot at all.
Most brands end up using a mix: creators for credibility, UGC for volume, AI for the versions that would never justify a location.
Audience overlap first, engagement rate second, follower count last. We check whether the creator’s existing audience is already the buying audience, and whether their last twenty posts look like something the brand can sit inside.
The network we draw from runs to 50,000+ vetted creators, which matters less than the shortlist of nine or ten who are actually right for a brief.
Three to four weeks is realistic for a full roster: one week on planning and shortlisting, one on outreach, contracting and briefing, and one to two on content creation and approvals. Festive windows need to start earlier because creator calendars fill by late August.
Yes. We have delivered for brands in 10+ countries, and the creator sourcing model works the same way — the difference is rate benchmarks and platform mix, not method. Start with our contact page and tell us the market.
Send us the product, the window and the budget. You’ll get back a creator mix, an indicative cost and the formats we’d build — before you commit to anything. DigiStreet Media has been running influencer campaigns since 2013.
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