Impact24 PR wants you to remember the names in the credits

The WonderCon program for March 2025 put an editor, a re-recording mixer, a visual-effects supervisor and two composers on the same panel. Their shared qualification was that they could explain how something on a screen had come to exist. Brett W. Bachman brought editing experience; Christina “Chuyue” Wen brought sound; Leo Birenberg and Zach Robinson brought music. Impact24 PR had helped assemble an afternoon around people whose names tend to arrive after the story is over.

There is a pleasing reversal here. A convention audience comes because it recognizes a show. A creative professional would like to leave with that audience recognizing a person. The title gets everyone into the room. The explanation gives them someone to remember.

That gap is the territory of Impact24, a Los Angeles public relations agency founded in 2017. It promotes entertainment professionals, companies and projects, with particular attention to the people behind the camera and curtain. Its work asks a practical question: how do you carry recognition from one production into the rest of a career?

The face changes. Follow the hands.

Consider Pam & Tommy. Impact24’s campaign page identifies four creative leads: hair department head Barry Lee Moe, makeup department head David Williams, special makeup effects designer Jason Collins and costume designer Kameron Lennox. The famous faces belonged to the actors. The agency’s brief concerned the people responsible for making those faces, bodies and clothes tell the right story.

The resulting press collection ranges across Variety, Vogue, CNN, Vanity Fair and specialist outlets. The angles vary with the publication: transformation, beauty technique, wardrobe and the mechanics of screen illusion. One television production contains several stories, each with its own knowledgeable protagonist.

For another creative business, the useful move is to separate the finished object from the decisions inside it. A general announcement gives everyone the same information. An account of a specific problem gives an editor something to ask about. The campaign’s strength is visible in that specificity; a clipping collection alone cannot establish how many later jobs it produced.

A roster that reads like a credit roll

Look down the company’s client page and the pattern becomes almost typographic. Composer. Editor. Production designer. Makeup artist. Among the names are John Powell, Alex Lacamoire, Stephanie Filo, Emilio Sosa and Johnnie Burn. Directors, showrunners and performers also appear. The roster spans the work required to get a production made, rather than a single celebrity category.

The agency describes its audience more broadly still: digital creators, creative companies, professional organizations and creative intellectual property. Its stated purpose ties visibility to new projects, industry recognition and professional relationships. That makes it a specialist service business selling communications expertise to people whose careers depend on others understanding their contribution.

It has company in this territory. Rhapsody PR also explicitly specializes in behind-the-camera talent. Impact24’s distinction is best judged through its particular roster, campaign examples and recurring events. A client choosing between agencies should be able to recognize their own discipline in the work, and their intended audience in the proposed campaign.

The documentary instinct

Co-founder Andrew Seth Cohen studied film and initially pursued development work. In a 2023 interview, he recalled difficulty finding a development job, returning to a former PR internship employer and eventually starting Impact24 with coworkers. His production interests found another outlet: helping other people explain their work.

“I really feel like my approach is like a documentary.”Andrew Seth Cohen · Successful Musicians, 2023

That observation fits the job. A craft publicist needs to draw out the story already present in someone’s work. Cohen’s World Soundtrack Awards biography describes campaigns around theatrical releases, television premieres and festivals including Sundance, SXSW and Tribeca. It also credits his team with campaigns supporting award-winning editors, a production designer and a music director. The awards recognize the artists; the publicist helps their contribution enter the conversation.

An early recruitment post supplies a smaller, more revealing detail about the business: applicants were asked for their favorite movie. Cohen also stressed initiative and real responsibility. It is a modest piece of evidence about the culture he wanted to build, and a sensible screening question for a workplace that spends its days finding something interesting to say about entertainment.

Build the room, then keep it open

Impact24’s events extend that interviewing instinct into a room full of people. Its work archive includes a New York Comic Con discussion about designing New York for film and television, drawing on projects such as Only Murders in the Building and Spider-Man: No Way Home. The organizing idea is a city, giving different disciplines a shared subject.

Other rooms have served a more explicit purpose. In January 2021, Impact24 and The Hollywood Reporter hosted the virtual Summit Hollywood Together, addressing diversity, allyship and access. CalArts participants included filmmaker Kirby Dick, Abigail Severance and president Ravi Rajan. That program gives the agency’s stated commitment to inclusion an identifiable event and participants.

In January 2025, Impact24 and Goodside announced the first Behind the Camera House during Sundance, combining panels, mixers and networking. Later that year, coverage of New York Comic Con described a third Broadway to Hollywood session. These are repeatable formats with room for new people and projects. By July 2026, the agency was announcing its seventh Hollywood Game Changers panel at San Diego Comic-Con.

The $2,000 introduction

The clearest published price belongs to the Creative Professionals Network. Its terms specify a $1,000 first month, including an assessment of existing networking tools, followed by $500 monthly and a three-month minimum. Add those together and the initial commitment is $2,000.

The offer includes two strategy sessions each month, event invitations, an industry calendar and campaign discounts. Full publicity campaigns are a separate service. The distinction matters when deciding what to buy: access and advice support your own professional activity, while a campaign has work to do around a particular story.

Elsewhere on its service menu, Impact24 offers biographies, pitch workshops, digital-presence advice, social posts and analytics. Premiere and awards work adds press outreach, speaking opportunities, red-carpet coordination and awards consulting. Taken together, the menu covers both a public moment and the preparation that makes someone ready for it.

Give the publicist something to work with

In a 2019 interview, then-president of publicity Jana Davidoff offered a useful starting question: “Do you have something to promote?” A festival appearance, timely subject or distinctive contribution can provide the reason for an interview. Her colleague Stephanie Pfingsten described the less glamorous requirements: respond promptly, supply useful material and respect a journalist’s appointment.

A reader can copy that preparation before hiring anyone. Choose the work you want remembered, identify one decision worth explaining and gather the images or examples that make it understandable. Decide who needs to hear the story. A future employer, a fan and an awards voter may care about different parts of it.

The practical limit follows from the task. An introduction still requires a conversation; an interview still requires something worth saying. Publicity is a poor fit for someone expecting guaranteed employment or recognition without participating. Impact24’s most persuasive proposition is more tangible: take the work buried in the credits and give another person a reason to talk about it.