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Good Times Film Company

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Give your audience a reason to watch.

We're Good Times Film Company, a full-service commercial and brand film production company based in Philadelphia and Los Angeles. We specialize in comedy commercials, character-driven brand films, and any content compelling enough to earn a share. Brands come to us when they want their audience to actually enjoy the experience of watching their commercials and films, because an audience that enjoys something remembers it, and an audience that remembers it converts. From concept through final delivery, we handle everything. We've done it for brands across retail, food and beverage, tech, and beyond. If your brief calls for work that performs without feeling like advertising, we'd love to be in the mix.

  • Min project size
    $5,000+
  • Hourly rate
    $200 - $300 / hr
  • Employees
    2 - 9
  • Year founded
    Founded 2023

Overview by:

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Matthew Sullivan
Principal Director About the Team

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    Our Story

    We started this company because we believed something the industry was not practicing: that the best way to connect a brand with its audience is to connect with and entertain them first. Consumers aren't buying products. They're buying a sense of community, personal change, or an opportunity to make their day-to-day lives a little brighter. Our job is to give your brand the feeling your target consumers are looking for.

    Meet the Team

    Matthew Sullivan

    Matthew SullivanPrincipal Director

    Matthew is an award-winning filmmaker who directs from a place of genuine curiosity about the audience. He wants to know who they are, what they find funny, what makes them tear up, and then he builds work specifically for them.

    What Sets Us Apart

    A custom crew for every project.

    Every shoot gets the right cinematographer, the right editor, and the right sound designer. Not whoever is available. The best person for the job, every time.

    Lean by design, competitive on quality.

    No fixed overhead passed to you. Your entire budget goes to the production, not to an office building landlord.

    Coast-to-coast without the markup.

    Philadelphia and Los Angeles bases mean we can access our network to crew locally almost anywhere in the US. Limited travel markups, same quality everywhere.

    Quick Facts

    3 years in business

    Tools and Technology

    Adobe Creative Cloud
    Frame.io
    Vimeo
    Netlify

    Commonly Asked Questions

    Our onboarding process is designed to make clients feel confident and clear from day one. It typically unfolds in four stages. First, we start with a discovery call (usually 30 to 45 minutes) where we get to know the client's brand, goals, audience, and any past video work they've done. We're not just gathering information; we're listening for what success actually looks like to them. From there, we move into a creative brief, a short document we build together that captures the project scope, key messages, tone, deliverables, and timeline. This becomes our shared north star for the project. Then we align on logistics. We introduce the client to their dedicated point of contact, walk them through our communication tools, and set expectations on turnaround times and approval windows. Finally, we kick off with a pre-production meeting where we present our creative direction and confirm everything before a single camera rolls. The goal of our onboarding is simple: no surprises. Clients should always know where we are, what's next, and who to call. We've found that the projects with the smoothest productions are the ones where we invested the most time upfront.

    We measure success on two levels: the client's experience and the performance of the content itself. On the experience side, we track whether we delivered on time, on budget, and without the client ever feeling out of the loop. If a client feels confident and informed throughout the process, that's a win before the video even launches. On the content side, we start by agreeing on what success looks like before production begins. That might be view counts, completion rates, click-throughs, leads generated, or simply whether the video achieved its intended purpose, whether that's training employees, converting prospects, or launching a product. We also do a post-project review with every client. We look at what worked, what we'd do differently, and whether the video is actually being used the way it was intended. That conversation has led to some of our best long-term client relationships. Ultimately, we don't consider a project successful just because it looks great. It has to work for the client's goals. That's the standard we hold ourselves to.

    Turnaround time depends on the scope of the project, but here's what clients can typically expect from us. For a standard corporate video or brand film (2 to 3 minutes), we usually work within a 4 to 6 week timeline from kickoff to final delivery. That includes pre-production, a one to two day shoot, and two to three rounds of revisions in post. For shorter content like social clips, testimonials, or event recaps, we can often turn those around in 2 to 3 weeks. For larger productions with multiple shoot days, animation, or complex post-production, we typically plan for 8 to 12 weeks. The biggest factor that affects timeline on our end is feedback turnaround from the client. We build approval windows into every project schedule upfront so there are no bottlenecks on either side. We're also happy to discuss rush timelines when needed. We've delivered quality work under tight deadlines before, and we're always upfront about what's realistic so there are no surprises.

    Our project management process is built around three things: clear communication, defined milestones, and no surprises. From the moment a project kicks off, every client gets a dedicated point of contact who owns the relationship from pre-production through final delivery. That person is accountable for keeping things on track and keeping the client informed. We use a shared project timeline that outlines every phase of production, key deadlines, and client approval windows. Clients always know what we're working on, what's coming next, and when we need something from them. For file sharing and feedback, we work in Frame.io so clients can leave time-coded comments directly on cuts. It keeps feedback organized and eliminates long email chains. We build revision rounds into every project upfront so there are no awkward conversations later about scope. Clients know exactly how many rounds are included and what the process looks like if additional changes are needed. At the end of every phase (pre-production, production, post) we do a brief check-in to confirm we're aligned before moving forward. That way we're never deep into editing a cut that missed the mark. The goal is that clients never have to chase us down for an update. We're proactive about communication because we know that's what builds trust.

    We're intentionally selective about how many projects we take on at once. Typically we run between 2 and 4 active projects at a time, depending on scope and complexity. The reason we cap it is simple: every client deserves our full attention. We've seen what happens at production companies that overextend, and the quality and communication suffer. That's not how we operate. Each project gets a dedicated point of contact who isn't stretched across a dozen accounts. When you reach out, you hear back the same day. When a deadline is approaching, we're already ahead of it. That said, we do have the flexibility to scale when a client needs it. We have a trusted network of producers, crew, and editors we've worked with for years, so we can bring in the right people for larger or faster-moving projects without sacrificing quality or oversight. We'd rather be known for doing great work for a focused roster of clients than for volume.

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