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.

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.

Full-service campaigns start at $50,000. Above that floor the number moves on creator count, content volume, the platforms and markets it runs in, the usage rights you keep, and whether paid amplification sits inside the scope. After the strategy call you get a custom proposal with those lines separated. See how our pricing works.

Yes. $50,000 is the floor for a full-service campaign. Every engagement at that level includes strategy and measurement, creator discovery and vetting, outreach and contracting, and creative and approvals, with creator fees, usage rights and paid media scoped on top. If the budget is smaller and what you need is creator content, UGC programs start at $10,000. See UGC production.

A senior strategist replies, usually within one business day, and books the call. The first 30 minutes is the strategy session: your objective, the audience, the platform mix, and how the program gets measured. After that call you get a recommended engagement model and a custom proposal.

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.

UGC content programs run from $10,000 to $100,000+, depending on volume, formats and usage rights. See how our pricing works.

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.

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.

Two agencies on this page publish a floor: Famesters states a $10,000 minimum budget on its own FAQ, and Zorka.Agency publishes tiers starting at $20K+ on its homepage. The rest quote by brief. Cost has three parts: the streamers, whose fees scale with concurrent viewers and stream length; the agency's fee; and any paid amplification or Twitch media behind the stream. Ask for the lines separately, and ask which line the published results depended on.

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.

One agency on this page publishes a floor, Yamammi at AED 15,000 for micro-influencer activations on its own homepage. The rest do not. Cost has three parts: the creators or athletes, whose fees scale with audience and usage rights; the agency's fee, usually a retainer or a percentage of spend; and any paid media behind the posts. Athlete partnerships add rights and appearance costs that ordinary creator fees do not. Ask for the lines separately.

None of the agencies ranked here publish an engagement floor on their own websites. Cost has three parts: the creators, whose fees scale with audience size, exclusivity and usage rights; the agency's fee, usually a retainer or a percentage of spend; and any paid amplification. Fashion adds product seeding, the items shipped to creators, which can be a real line at scale. Ask for the lines separately.

None of the agencies ranked here publish an engagement floor on their own websites. Cost has three parts: the creators, whose fees scale with audience size and usage rights; the agency's fee, usually a retainer or a percentage of spend; and any paid media behind the posts. Food campaigns often add product seeding costs, the boxes shipped to creators, which are small individually and add up at scale. Ask for the lines separately.

Few agencies publish an engagement floor, and none of the agencies ranked here publish one on their own websites. Cost has three parts: the creators you book, whose fees scale with audience size, exclusivity and usage rights; the agency's fee, usually a retainer or a percentage of spend; and any paid amplification behind the posts. Ask for the three lines separately so a proposal can be compared with another one.

There is no list price, and no agency on this page publishes one. Cost has four parts in travel where other categories have three: the creators, whose fees scale with audience size and usage rights; the trip itself, meaning flights, rooms and hosting, which the destination or hotel often covers in kind; paid amplification behind the posts that perform; and the agency's fee on top. Ask every shortlist for the same breakdown, and ask which of the four the published results depended on.

There is no list price, and one agency on this page publishes a floor: Clicks Talent states a $2,000 starting spend for a contest campaign on its homepage. Cost has three parts: the creators, whose fees rise with audience size and with usage rights for a release window; the agency's fee; and paid amplification behind the posts that perform, which in entertainment often matters more than the organic post. Ask every shortlist for the same breakdown, and ask which line the published results depended on.

One agency on this page publishes a floor: Kingfluencers states a minimum budget of CHF 20,000 on its own FAQ, covering creator and campaign management costs. The rest quote by brief. Cost has three parts: the creators, whose fees rise with the compliance burden and the usage rights; the agency's fee, usually a retainer or a percentage of spend; and any paid amplification. Compliance review adds time on every post. Ask for the lines separately.

None of the agencies on this page publishes a rate, a minimum or a budget band on its own site, so cost is quote-by-brief throughout. Cost has three parts: the creators, whose fees rise with the compliance burden and the usage rights; the agency's fee, usually a retainer or a percentage of spend; and any paid amplification. Claims review adds time on every post, and a clinical product adds more. Ask for the lines separately.

One agency on this page publishes a floor: Zorka.Agency states tiers starting at $20K+ on its homepage. The rest quote by brief. Cost has three parts: the creators, whose fees depend on audience size and usage rights; the agency's fee; and the Meta media budget behind the creator content, which on Facebook is usually the largest line. Ask for the three separately, and ask which line the published result depended on.

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.

At minimum, peak and average concurrent viewers and total views for the sponsored streams, separated from any other platform. A better report adds the click-through rate on the streamer's link and the followers the brand's own channel gained. The best cases on this page add a click-through rate split by platform, or a cost per acquisition. Ask which of those an agency can show for a product like yours.

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.

A sponsorship puts a brand on an athlete or an event under contract, and the content is part of the rights package. A creator campaign briefs people the brand does not own, fans, coaches, fitness creators, sometimes athletes, to make content in their own voice. The case studies on this page show both, and the entries say which an agency has actually done. Several agencies whose sports work turned out to be sponsorship coverage and channel management were not ranked.

At minimum, the reach and engagement the creators' own posts delivered, separated from anything paid. A better report adds clicks to shop, promo code redemptions, new sign-ups or purchases. The best cases on this page publish purchases and a return with the basis stated. Ask which of those an agency can show for a brand like yours.

It depends on what the campaign has to do. Recipe and cooking creators carry a product into a use case, which suits a launch or a new format. Restaurant and review creators drive visits, which suits a chain or a venue. Lifestyle and family creators reach the weekly shop. Several agencies on this page publish cases of each kind, and the case study tells you which audience the agency actually knows how to reach.

A result is something that was counted: a click, a download, a purchase, a booking. A media value is an estimate of what the same exposure would have cost as advertising, worked out by the agency using its own rate assumptions. Both can be useful, but only the first one lands in a sales report. When a case study prints a return multiple, ask whether the numerator is revenue or media value.

At minimum, the platform figures for reach, views and engagement on the creators' own posts, separated from any press coverage. A better report adds clicks to a booking page, searches for the destination during the campaign window, and code redemptions. The best cases on this page publish a booking uplift or a search lift with the window stated. Ask which of those an agency can show for a destination or property like yours.

At minimum, views and engagement on the creators' own posts in the campaign window, separated from any hashtag total. A better report adds clicks to a trailer, a ticketing page or a store listing. The best cases on this page publish ticket sales, sign-ups or downloads, and one publishes spend beside revenue so the return can be checked. Ask which of those an agency can show for a launch like yours.

Yes, inside each market's rules on financial promotions, which govern disclosure, risk warnings and who may make claims about returns. The agencies on this page work in markets from Switzerland to Saudi Arabia to the United States and India, each with its own regime. Ask an agency to walk you through the approval process it ran for its closest case before you compare its numbers with anyone else's.

Yes, inside each market's rules on health claims and advertising disclosure, which differ by country and by product type. Prescription products and clinical treatments carry the strictest rules, and some markets restrict specific categories outright. The agencies on this page work in markets from the United States to India to the Gulf, each with its own regime. Ask an agency to walk you through its approval process in your market before you compare its numbers.

It works as paid creator content for an audience that is on Facebook, and the cases on this page that count customers say so: a fashion brand's holiday campaign, a fitness subscription, a tax-preparation service. It works less well as organic posting, because a creator's organic reach on Facebook is a fraction of the same post on Instagram. Ask the agency which of the two it is proposing.

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.

The cases on this page say yes when the brand joins the format rather than interrupting it: a broadband brand hosting a creator tournament, a footwear brand building a holiday stream around one German creator, a housing charity putting two streamers live for four hours each, a food chain building a Minecraft mod that raised charity donations. The audience tolerates a brand that gives the streamer something to do.

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.

Yes, and it is one of the few sports categories where a return gets published. NeoReach's own FanDuel case reports a 5:1 return measured on lifetime value, and its DraftKings programme reports a 1.83x return with the basis unstated. The lesson from both is to ask what the return is measured against before comparing agencies on it.

The case studies on this page show both working, for different jobs. Larger creators and celebrity partnerships carry a launch moment and press. Nano and micro creators at volume carry a collection into many wardrobes and produce the user-generated content a brand can reuse. Several agencies here run both inside one programme and report them separately.

Yes, and some agencies on this page have published the proof: boxes sold in a launch month, a quarterly sales lift, purchases tracked through creator codes and retargeting. What the case studies also show is that the strongest sales numbers usually come from creator content with paid media behind it, or from a creator programme that ran inside a wider campaign. Ask how much of the result the creators can claim on their own.

It depends on where the creator work sits in your plan. If Instagram creators are the campaign, a specialist that sources, briefs and measures in-house will usually move faster. If creators are one line in a launch that also runs press, events and paid media, a full-service agency keeps one team accountable for the whole result. Several agencies on this page publish cases of each kind.

A trip suits a launch, a new route, a reopening or an event, and it produces a spike. An always-on programme suits a destination that has to stay in the feed across seasons, and it produces presence. The agencies on this page split along that line: some publish single trips with the creator count on the page, others publish a year's programme as one blended figure. Ask for the shape that matches your calendar, and ask to see the reporting for it.

The cases on this page split both ways. A single creator with the right audience carried some of the largest numbers here, and a dozen mid-sized creators seeding one sound produced tens of thousands of fan videos. The deciding factor is the mechanic: a sound or a challenge wants many creators, a premiere moment wants a few faces people recognise. Ask the agency which it is proposing and why, and ask for the case that matches.

App installs, registrations, funded accounts or paying subscribers, with the creator count and the campaign length beside them, and ideally a cost per install. One agency on this page publishes all of those for an invoicing app. Views and impressions alone are the weakest evidence in this category, and percentages against an unpublished plan are weaker still.

At minimum, reach or views from the platform, not an estimate. A better report adds engagement, profile visits and clicks to a booking page, an app store or a product page. The best cases on this page publish installs, clicks against a stated target, or a change in behaviour measured in a test group. Ask which of those the agency can show for a product like yours.

Facebook's own reach, impressions and clicks from the Meta dashboard, separated from Instagram and from other platforms. A better report adds the paid and organic split and a cost per result. The best cases on this page add purchases, subscribers or app installs. Ask which of those an agency can show for a product like yours.

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.

A viewership figure counts people who watched the stream, as peak or average concurrent viewers or total views. Reach on Twitch is usually an estimate across clips, VODs and social cut-downs, and on most case pages it is blended with other platforms. Where an entry on this page cites either, it says which. Ask the agency for the Twitch dashboard numbers behind any figure.

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 case studies on this page say yes at local scale. One agency's fitness studio cases report booking page clicks, new class trials and a rise in monthly bookings from creator programmes in one city. Those are click-level and trial-level outcomes rather than revenue, and they are the right numbers to ask a local fitness brand's agency for.

Yes. One of the strongest records on this page is a resale platform's always-on creator programme, reported as organic link clicks, new users and new listers rather than reach. Resale brands have a measurable action on the other side of the click, which makes creator work easier to evaluate than for most fashion categories.

Both appear across the case studies on this page, often in the same brief. TikTok tends to carry the challenge, the trend and the first taste test. Instagram tends to carry the recipe, the product shot and the click to buy. An agency that publishes results from both, reported separately, is easier to compare than one that publishes a blended total.

The case studies on this page are the answer: sell-outs, sales growth, downloads and new customers are still being published from Instagram programmes in 2026, often alongside TikTok in the same brief. The two platforms do different jobs. Instagram tends to carry consideration and the click, TikTok tends to carry discovery. Most of the agencies here run both and report them separately.

Press reach counts the readership of every outlet that covered the campaign, usually as an estimate, and it can run into the billions. Creator reach counts the audiences that saw the creators' own posts, from the platform. A communications agency that runs creators will often publish the first. Where an entry on this page cites a press figure, it says so, and the creator figure sits beside it.

A hashtag total is the lifetime view count of every video using the tag, including organic imitation and videos posted long after the campaign. Campaign views count the content the agency paid for, in the window it ran. The gap between the two can be a hundredfold. Where an entry on this page cites a hashtag figure, it says so, and the paid-content figure sits beside it where the agency published one.

The cases on this page say yes when the brief is a product with a moment: a bank's first regulated crypto offering, a household insurance product aimed at young adults, a pet insurance relaunch tied to a film. Those campaigns report reach and engagement against a forecast rather than accounts opened, because the bank keeps the account data. Ask what the client measured internally and whether the agency was told.

The cases on this page say yes when the creators are local and the number counted is a click toward a booking. One agency on this page runs programmes for single-location studios and clinics in Dubai and publishes profile visits and booking-page clicks per campaign. Ask for the booking count behind the clicks, because the click is where most agencies stop reporting.

Because Meta's ad tools place one campaign across both, and agencies report what the dashboard gives them. That is fine for a media buy and unhelpful for choosing a Facebook agency. Where an entry on this page cites a blended total, it says so. Ask for the platform breakdown before comparing any two agencies' numbers.

Usually. Streamers cut their broadcasts into YouTube videos and TikTok clips, and the cases on this page show the same campaign delivering on both, with the click-through rate differing sharply by platform where an agency publishes both. Ask for the platforms reported separately, so the live stream's own contribution is visible.

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.

As an estimate of how many people might have seen coverage of a campaign, across press and social, calculated by the agency. It is not the number of people creators reached. Where an entry on this page cites earned reach, it says so, and the creator-delivered figures sit beside it where the agency published them.

Both appear across the case studies here, often together. Instagram Reels still carries most of the published fashion results on this page, with TikTok used for discovery and trend-led drops. An agency that reports the two separately is easier to compare than one that publishes a blended total.

As a measure of participation, not of what the agency delivered. A hashtag total counts every video posted under the tag by anyone, including creators the agency never briefed and videos posted after the campaign ended. When a case study prints a hashtag figure, look for the impressions and views the agency's own creators produced. Where an entry on this page cites a hashtag total, it says so.

A single campaign shows its numbers within days of posting. A programme takes longer, because the second and third flights are where creator selection and briefs get corrected against the first flight's data. Agencies that publish multi-market programmes on this page describe results that built over months. Plan the first quarter as the learning period and hold the agency to what changed between flights.

It is revenue attributed to the campaign divided by what was spent, and it is only as good as the two numbers behind it. Hotel campaigns on this page publish returns many times their spend with no arithmetic shown, so a reader cannot tell whether the revenue was tracked bookings or an estimate of room-nights. Ask the agency for the numerator and the denominator. Where an entry on this page cites a return, it says whether the basis was published.

It depends on the basis. A return measured against tracked ticket revenue, with the spend published, can be checked. A return measured against influencer media value, an estimate of what the exposure would have cost as advertising, cannot be compared with the first kind. Several returns on this page carry no basis at all. Where an entry cites a return, it names the basis or says that none was published.

A return on revenue divides tracked sales by spend and can be checked. A return on influencer media value divides an estimate of what the exposure would have cost as advertising by spend, and cannot be compared with the first kind. Almost no agency in finance publishes either. Where an entry on this page cites a return, it names the basis or says none was published.

Earned-media impressions count press coverage, broadcast pickup and social conversation about a campaign, usually as an estimate. Creator reach counts the audiences of the creators who posted, from the platform. A public-relations agency running creators will often publish the first figure and bury the second. Where an entry on this page cites an earned-media or estimated figure, it says so.

A return on ad spend divides tracked revenue by the money spent, and one agency on this page publishes it with the purchase count beside it. A media value is the agency's estimate of what the exposure would have cost as advertising. It is not revenue, and a return calculated against it is not a return on spend. Where an entry on this page cites either, it names the basis.

Influencer media value is an agency's estimate of the advertising cost equivalent of the exposure a campaign produced. It is useful for comparing campaigns inside one agency's reporting. It is not revenue, and a return calculated against it is not a return on spend. Where an entry on this page cites a media value or a return with that basis, it says so.

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.

Athletes carry credibility and a fan base, and their content usually sits inside a rights deal. Ordinary creators carry a brand into the parts of a fan's life the league does not reach, and they can be briefed at volume. The strongest campaigns on this page use both: an athlete moment, then creators who make it participatory. Ask an agency which it has done, and for which brand.

Earned media value is an agency's estimate of the advertising cost equivalent of the exposure a campaign produced, worked out using its own rate assumptions. It is useful for comparing campaigns inside one agency's reporting. It is not revenue, and a return calculated against it is not a return on spend. Where an entry on this page cites a media value, it says so.

Earned media value is an agency's estimate of the advertising cost equivalent of the exposure a campaign produced, worked out using its own rate assumptions. It is useful for comparing campaigns inside one agency's reporting. It is not revenue, and a return multiple calculated against it is not a return on spend. Where an entry on this page cites a media value, it says so.

Influencer media value, sometimes called earned media value, is an agency's estimate of the advertising cost equivalent of the exposure a campaign produced. It is useful for comparing campaigns with each other inside one agency's reporting. It is not revenue, and a return multiple calculated against it is not a return on spend. Where an entry on this page cites a media value, it says so.

The cases on this page run on Instagram for hotels, resorts and destination imagery, on TikTok and YouTube for airline and route launches where a single creator's video can travel, and on YouTube for long-form trips. Short video did the largest single-creator numbers on this page. Ask which platform the agency's closest case ran on, and whether the figure is one platform or a blend.

The cases on this page run on TikTok for music and film launches, where a sound or a scene can travel; on YouTube for long-form and creator-led series; and on Instagram Stories for swipe-through ticketing and codes. Live events add Twitch and live streams. Ask which platform the agency's closest case ran on, and whether the figure it quotes is one platform or a blend.

The cases on this page run on YouTube for explainers and trading education, on Instagram and TikTok for app launches and offers, and on Snapchat and X in markets where those carry finance audiences. Long-form suits a product with a mechanism to explain; short-form suits a launch or a promotion. Ask which the agency has run for a product like yours, and which platform its closest case actually reported.

The cases on this page run on Instagram for clinics, studios and supplements, on YouTube for products with a mechanism to explain, and on TikTok for fitness challenges and app launches. Long-form suits a product that needs explaining; short-form suits a routine, a before-and-after or a thirty-day challenge. Ask which the agency has run for a product like yours, and which platform its closest case actually reported.

Creators whose audience is already there: personal-finance writers, parenting creators, fitness coaches, and video creators whose clips travel through shares. The cases on this page that report a Facebook-specific result used creators of that kind. Ask the agency for the age profile of the audience its creators reached on Facebook.

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.

By reading every case study each agency publishes and keeping the ones with more than one creator campaign for a sports or fitness client that carries a result a reader can check on the agency's own site. Cases that are PR, production or sponsorship without creators were set aside, and agencies with a single sports result were left off. The ten that qualify are scored on the same four measures in the same order.

By reading every case study each agency publishes and keeping the ones with more than one creator campaign for a fashion client that carries a result a reader can check on the agency's own site. Beauty and fragrance work was not counted as fashion, and agencies with a single fashion result were left off. The ten that qualify are scored on the same four measures in the same order.

If creators are the campaign, a specialist that sources, seeds and briefs food creators in-house will move faster and know the category's audiences. If creators are one line in a launch that also runs press, events, retail and paid media, a full-service agency keeps one team accountable for the whole result. Both kinds appear on this page, and the case studies say which is which.

Usually yes, once the organic data has shown which creators and which posts are working. Paid amplification lets a brand put budget behind the content that already earned attention rather than guessing in advance. The condition is reporting: organic and boosted delivery have to be shown separately, or you cannot tell what the creators did on their own.

By reading every case study each agency publishes and keeping the ones with more than one creator campaign for a travel or hospitality client that carries a result a reader can check. Several well-known agencies with one strong travel case, and several with tourism clients but no creator work or no numbers, were left off. The page ranks what can be verified rather than padding the list, and the ten that qualify are scored on the same four measures in the same order.

By reading every case study each agency publishes and keeping the ones with more than one creator campaign for an entertainment client that carries a result a reader can check. Agencies with tagged entertainment work that turned out to be channel management, event capture or production without creators were left off, as were agencies with a single result. The twelve that qualify are scored on the same four measures in the same order.

By reading every case study each agency publishes and keeping the ones with more than one creator campaign for a finance or fintech client that carries a result a reader can check. Agencies whose finance work turned out to be brand film, PR or paid media without creators were left off, as were agencies with a single finance result and one whose website has gone offline. The ten that qualify are scored on the same four measures in the same order.

By reading every case study each agency publishes and keeping the ones with more than one creator campaign for a health or wellness client that carries a result a reader can check. Agencies whose tagged wellness work turned out to be beauty and fragrance, PR without creators or dead pages were left off, as were agencies with a single wellness result. The ten that qualify are scored on the same four measures in the same order.

By reading every case study each agency publishes and keeping the ones with at least one creator campaign that names Twitch on the agency's own page and carries a result a reader can check. Twitch is a small category, so the bar is one campaign rather than the two most rankings on this site require, and the entries say how much of each agency's record that case represents. Agencies whose Twitch work is extensions, esports management or production without creators were left off.

By reading every case study each agency publishes and keeping the ones with more than one creator campaign that names Facebook on the agency's own page and carries a result a reader can check. Agencies whose Facebook work turned out to be channel management, paid media or community operations without creators were left off. The ten that qualify are scored on the same four measures in the same order.

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.

Because NeoReach publishes the page, its card is featured above the ranking rather than scored inside it. The nine agencies below it are scored on the same four measures in the same order, from their own published case studies. NeoReach's card is written from its own published fashion case studies, which anyone can check at the links on it.

Because NeoReach publishes the page, its card is featured above the ranking rather than scored inside it. The ten agencies below it are scored on the same four measures in the same order, from their own published case studies. NeoReach's card is written from its own published food and beverage case studies, which anyone can check at the links on it.

Because NeoReach publishes the page, its card is featured above the ranking rather than scored inside it. The ten agencies below it are scored on the same four measures in the same order, from their own published case studies. NeoReach's card is written from its own published Instagram case studies, which anyone can check at the links on it.

Because NeoReach publishes the page, its card is featured above the ranking rather than scored inside it. The ten agencies below it are scored on the same four measures in the same order, from their own published case studies. NeoReach's card is written from its own published travel case studies, which anyone can check at the links on it.

Because NeoReach publishes the page, its card is featured above the ranking rather than scored inside it. The twelve agencies below it are scored on the same four measures in the same order, from their own published case studies. NeoReach's card is written from its own published entertainment case studies, which anyone can check at the links on it.

Because NeoReach publishes the page, its card is featured above the ranking rather than scored inside it. The ten agencies below it are scored on the same four measures in the same order, from their own published case studies. NeoReach's card is written from its own published finance case studies, which anyone can check at the links on it.

Because NeoReach publishes the page, its card is featured above the ranking rather than scored inside it. The ten agencies below it are scored on the same four measures in the same order, from their own published case studies. NeoReach's card is written from its own published case studies, which anyone can check at the links on it.

Because NeoReach publishes the page, its card is featured above the ranking rather than scored inside it. The eleven agencies below it are scored on the same four measures in the same order, from their own published case studies. NeoReach's card is written from its own published Twitch case studies, which anyone can check at the links on it.

Because NeoReach publishes the page, its card is featured above the ranking rather than scored inside it. The ten agencies below it are scored on the same four measures in the same order, from their own published case studies. NeoReach's card is written from its own published Facebook case study, which anyone can check at the link on it.

Because NeoReach publishes the page, its card is featured above the ranking rather than scored inside it. The six agencies below it are scored on the same four measures in the same order, from their own published case studies. NeoReach's card is written from its own published sports case studies, which anyone can check at the links on it.

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.