Bark Productions: Kansas City’s Story Engine for Broadcast, Digital, Post-Production and Everything In Between

Bark Productions is a Kansas City–based, full-service production company founded in 1999 by agency producers Brad Slaughter and Mark Schotte. Over the past 25+ years, Bark has evolved from a “shoot-only” production shop into an integrated production + post powerhouse—especially after launching its sister post studio 19 Below in 2007 and consolidating operations into a 20,000+ square-foot Crossroads facility.

Brad’s philosophy is simple and client-friendly: reduce friction, increase quality, and make big work feel manageable. He describes Bark’s approach as taking ownership from the first call to the final deliverable—“a turnkey thing” that’s easier for clients to navigate.[6][7] Bark’s public portfolio spans major brands and institutions—from Paycom, QuikTrip, Missouri Tourism, McDonald’s, Children’s Mercy, NFL TrueView, Evergy, NAPA and more—featured across its Broadcast and Digital reels.

This Kansas City Thrive–style feature tells the human story behind the studio: Brad’s journey from KU journalism and agency life to building a company that helps Kansas City brands look national, while still feeling unmistakably local.

From agency hallways to a new kind of KC production company

Every Kansas City success story has a “we saw something missing” moment—an unmet need, a gap in the market, a quiet frustration that becomes fuel. For Brad Slaughter, that moment was shaped inside Kansas City’s advertising world, where he learned production at a high level and saw where the Midwest could go next.

Brad tells it plainly: he was working in the agency environment, meeting deadlines, coordinating crews, and getting trained on “bigger market” standards. Then he and Mark started noticing something. “Maybe there were some offerings… that weren’t happening as much in Kansas City as they were in LA or New York,” Brad says, “and we saw that as an opportunity.”[1]

Brad’s background is rooted in storytelling. He studied journalism at the University of Kansas (also reflected in his public profile) and built his early career in commercial production. He eventually served as a Senior Producer at Bernstein-Rein Advertising, which aligns with how he describes his “agency producer” foundation in our interview together.[1] That upstream experience—where creative decisions are made and business goals are defined—still shows up in how Bark works today: production decisions are never just technical; they’re strategic.

Founded in 1999—and built through eras of change

When Bark launched in 1999, it entered an industry that has since transformed again and again. Cameras got smaller. Workflows got faster. Distribution exploded from TV to web to social to everything. Yet Brad’s memory of the early days is refreshingly grounded—and honestly, kind of charming.

“When we first started, everything was shot on film,” he says.[2] And if you want a quick history lesson in the economics of production, Brad gives it to you: “If you had money, you’d shoot on 35mm film, and if you didn’t… you’d shoot on 16mm film.”[3]

That era required patience, precision, and an old-school respect for craft. But it also built instincts that still matter: how to light something properly, how to communicate a director’s vision, how to organize a shoot day that doesn’t unravel under pressure.

Bark’s still echoes that quality-first reputation. It describes Bark as “one of the premier production companies in the Midwest,” noting its founding by seasoned agency producers in 1999 and its later expansion into post through 19 Below. Bark also highlights its membership in the AICP (Association of Independent Commercial Producers), a meaningful marker in the commercial production world.

That combination—craft roots and professional standards—helps explain why Bark has remained relevant through shifting formats and trends.

The turning point: building a true “turnkey” pipeline

A lot of production companies can shoot. A lot of post houses can edit. The rare ones can do both seamlessly—and make the journey feel easy for clients.

Brad explains that in Bark’s earlier years, the company focused mainly on production. “We would do the shoot, and we would utilize another vendor to do the editorial,” he says.[4] That’s a common model, and it works—until the handoffs start creating friction: different timelines, different interpretations, delays, and “telephone-game” communication.

Bark’s shift was born from practical experience. Brad says he and his team already had deep knowledge of post—music licensing, original music supervision, color, graphics, the whole ecosystem. “We had a knowledge base there that we felt like we could extend our offerings,” he explains.[5]

Then comes the sentence that basically explains Bark’s entire identity: they wanted “to manage a project for the client from the moment that they called us all the way through… completion.”[6] And why? Because it becomes “a turnkey thing… a more comfortable, easier way for them to approach it.”[7]

That philosophy has a business implication Kansas City leaders will recognize immediately: fewer vendors means fewer failure points. For marketing leaders, it means fewer meetings and more confidence that the work will match the original intention.

Publicly, this evolution shows up in Bark’s formal structure. Bark notes that it opened post-production studio 19 Below in 2007, and today the two together provide production plus editorial, motion design/animation, color grade, and post-audio services. 19 Below explicitly states “nothing is outsourced,” emphasizing faster turnarounds and a seamless workflow.

The Crossroads HQ: where KC’s creative energy meets serious production muscle

In Kansas City, place matters. The blocks around you shape the energy of the work. And Bark’s physical home—2520 Summit Street—says a lot about its identity.

Brad describes a pivotal move: “In 2018, we moved everybody under one roof,” he says, “and we’re right next to the Boulevard Brewery.”[8] That’s not just a fun neighborhood flex (though it is). It’s a location choice that puts Bark inside Kansas City’s creative heartbeat—Crossroads-adjacent, collaborative, and culturally alive. Bark’s contact page confirms the location and leadership contacts.

The move didn’t just change the address—it changed how Bark works. Brad explains that bringing everyone together created “such a blend between production and post,” with constant back-and-forth collaboration.[9] He describes running “a zillion times a day” for quick sidebars—reviews, tweaks, opinions, fast decisions—because creative work needs tight feedback loops.[9]

Now, he says, “It’s… a very seamless thing,” and “definitely more efficient these days.”[10]

That is the kind of operational detail business leaders appreciate. “Culture” is often defined as vibe. Bark’s culture is defined by workflow: proximity, speed, and shared ownership across production and post.

Bark’s About page backs this up with concrete facility details: an open workspace, insert shooting stage, conference rooms, large edit bays, lounges, kitchen amenities, and secure parking—designed to support both production and post under one roof.

What Bark actually delivers: broadcast, digital, directors, and the craft behind it

Bark’s website is clean and confident: Featured, Broadcast, Digital, and Directors. That structure tells you how they are thinking: the work comes first.

On the Broadcast side, Bark publicly lists projects tied to brands and organizations like Paycom, QuikTrip, Missouri Tourism, McDonald’s, Children’s Mercy, NFL TrueView, Evergy, Prairie Fresh, NAPA, Eylea, Cox Health, and Nebraska Lottery. These are large, high-visibility organizations—work that has to be clean, credible, and often legally precise.

On the Digital side, Bark’s portfolio includes projects like Chiefs Cab, Hill’s Science Diet, Wendy’s, KC Chamber, LG, Credelio, Vivitrol, US Navy, and Visit KC. Digital work often requires a different muscle: platform-native storytelling, faster turnarounds, multiple cuts and aspect ratios, and creative that performs in a feed.

Then there’s Directors—a major clue to Bark’s positioning. Bark represents a mix of national directors and directors of photography (DPs) to create “the right fit for each project,” which allows Bark to tailor style and execution to the client’s needs. In other words: Bark isn’t one “look.” It’s a studio built to match the story to the right creative talent.

Bark’s core services at a glance

Pricing note: Bark does not publish standard packages or rates on its website; project pricing appears to be custom/quote-based.

Chiefs Cab: a case study in “KC first, broadcast quality always”

If you want a single project that shows how Bark thinks, Chiefs Cab is it.

Brad tells the story as an example of how production and post merge when time and complexity demand it. “We did one for the Chiefs,” he says, describing the NFL schedule release ecosystem where teams compete creatively.[11] “What we did for the Chiefs was a project called Chiefs Cab,” he says—an adaptation inspired by the game show Cash Cab.[12]

Bark didn’t just copy a format. They localized it. “We brought that guy to Kansas City,” Brad recalls, and “shot at Arrowhead.”[13] Then he gets into the technical magic: they built a “minivan-sized cab on a trailer… on a process trailer,” used a camera car, and drove around the parking lot.[14]

And then—real-world complications. Brad explains there was a delay during the shoot; “That all had to be recreated in post.”[15] Which meant: the post team wasn’t just waiting at the studio. They were on location, planning the work while the footage was being captured. Bark’s editors and finishers had to “composite in scenes of Kansas City out all the windows,” and even add landmarks to make the environment feel authentically KC.[16]

“The post guys really got involved early,” Brad says, so they understood exactly how everything was shot and what needed to happen later.[17]

That is the Bark value proposition in one paragraph: creative ambition + technical execution + collaborative planning—all delivered as a single team.

And it aligns with how the Chiefs themselves describe the project publicly: Chiefs.com notes that the team sourced a van matching the Cash Cab model, added a temporary bright yellow paint job and custom graphics, and built interior lighting to capture the iconic “game show” feel—then drove it through Kansas City for the schedule reveal. The Chiefs also published behind-the-scenes photos from the shoot.

For Kansas City, projects like this don’t just entertain fans. They prove something bigger: KC can produce national-level content without outsourcing its story to another city.

The Bark workflow: how creative collaboration becomes a system

Great creative shops may feel like magic from the outside. The best ones are actually repeatable on the inside. Bark’s workflow isn’t a “framework” with a catchy acronym—it’s a rhythm formed by years of experience, high expectations, and constant collaboration.

Here’s what Bark’s process looks like when you translate it into business terms:

1. Early involvement (their strategy alignment)
   Bark increasingly joins projects early. Brad calls it “end-to-end production,” where they start getting involved while clients are still deciding what to produce.[18] This helps prevent misalignment later.

2. Pre-production as risk reduction
   In many environments, “pre-pro” feels like overhead. Bark treats it like insurance: casting, locations, schedules, budgets, gear, treatment decks, and alignment across every stakeholder.

3. Production with post in mind
   The Chiefs Cab example shows Bark doesn’t treat production and post as separate departments. They design shots with finishing requirements in mind, and bring post expertise forward when it matters.[17]

4. In-house post as speed + consistency
   19 Below explicitly states that nothing is outsourced, creating faster turns and a seamless workflow between creatives.

5. Delivery designed for distribution
   Bark produces for both broadcast and digital distribution, which increasingly means multiple cutdowns, formats, and platform requirements.

This is why Brad’s “turnkey” language matters. For clients, it feels like simplicity. For Bark, it’s operational excellence.

Company culture: talent, trust, and a love of the craft

Bark’s culture is often described publicly as “creative collaboration.” Their LinkedIn page says the company facilities reflect “a company-wide culture of constant creative collaboration,” and lists work spanning television commercials, radio, corporate media and web content. Bark’s About page reinforces this with the emphasis on shared space and integrated services.

But the clearest culture signal is how Brad talks about team growth. He describes a new era where Bark isn’t just executing scripts—it’s shaping creative. “Back in the day, they’d hand you a script and say, make it better,” he jokes.[19] Now the company gets involved earlier, “with some of the creative aspect… up front.”[20]

That shift matters culturally. It asks more of a team: more judgment, more ownership, more creative courage. Brad says it’s been “terrific… both for us and… for the clients,” because Bark can be “a partner from day one all the way through… distribution.”[21]

On the 19 Below side, team bios show the depth and range of talent Bark has assembled:

·         A creative director who is Emmy-nominated for title design (Bryan Keeling)

·         Motion designers with experience across entertainment and advertising

·         A sound engineer with decades of professional audio work and major credits

·         Editors and producers rooted in Kansas City and trained nationally (19 Below Creatives)

That matters for business leaders because creative output is directly tied to talent density. Bark’s approach has been to build depth in-house and keep the feedback loop tight.

Hiring and growth signals

·         Company size: Bark’s LinkedIn lists 2–10 employees, and Clutch lists 2–9—though production and post often involve extended crews and freelancers.

·         Community involvement: Bark and team members have hosted local industry events and knowledge-sharing gatherings. A recent public LinkedIn post highlights Bark hosting a Digital Women Kansas City panel event and calls out Brad and a colleague for sharing their knowledge (Joe Myers LinkedIn post).

·         KC Chamber listing: Bark/19 Below is listed in the Greater Kansas City Chamber of Commerce directory.

Staying ahead: LED walls, AI, and the future of commercial storytelling

Brad’s perspective on change is balanced: excited by technology, grounded in what can’t be replaced.

He points to emerging tools like “LED walls in studios… [where] you can create your own backgrounds.”[22] He also describes how Bark is using AI, especially in post-production, to move faster and go deeper. Brad says the new tools “strengthen what we can do,” helping them do things “more quickly” and “to a greater depth.”[23]

But he’s not starry-eyed about it. Brad frames AI as an enhancement to craft, not a replacement for it. He talks about “AI tools that speed up what we’re doing,” especially within animation and motion design workflows.[24] He also notes practical uses like “AI voices” for presentations and scratch reads during an edit.[25]

One of the most “producer brain” moments in our interview is when he mentions director’s treatments—the creative decks used when bidding jobs. Bark builds treatments to communicate vision through words, photos, and video. “We use AI a lot for that, too,” Brad says, because it helps bring ideas to life faster in the pitch process.[26]

If you’re a Kansas City business leader, that detail matters. It means Bark isn’t just better at finishing—Bark is also investing in the front-end processes that win work and clarify direction early. That’s how you stay relevant in a rapidly shifting production economy.

Kansas City impact: telling global stories from 2520 Summit Street

There’s a reason Kansas City loves companies like Bark. They prove you can build world-class craft here—and still keep your feet on KC sidewalks.

Bark’s own positioning is rooted in place: “filming in KC since 1999” appears across their public profiles, and their facility location and collaborations reflect a commitment to local creative infrastructure. Their LinkedIn updates even speak directly to civic storytelling: one post celebrates helping tell Missouri’s story “on a global stage” through a collaboration with OBP Agency and Visit Missouri.

And Brad’s Chiefs Cab story is a reminder that Kansas City isn’t just a backdrop in Bark’s work. It’s a character. When Bark composites KC landmarks into the windows of a “moving” car, it’s not just a technical trick—it’s cultural storytelling.[16]

If you’re an entrepreneur, a nonprofit leader, a marketing director, or a parent who just wants to see Kansas City represented with pride, Bark’s success is yours too! It’s one more Kansas City company proving that high standards and big ambition can live right here—next door to Boulevard.

Transcript and Interview Quote Index

1.      [1] “Maybe there were some offerings… not happening… in LA or New York… we saw that as an opportunity…”

2.      [2] “When we first started, everything was shot on film.”

3.      [3] “If you had money, you’d shoot on 35mm… if you didn’t… 16mm.”

4.      [4] “We would do the shoot… [and] utilize another vendor to do the editorial…”

5.      [5] “We had a knowledge base… we could extend our offerings…”

6.      [6] “Manage a project… from the moment… they called us all the way through… completion.”

7.      [7] “A turnkey thing… a more comfortable, easier way…” — 10:10:06–10:10:16

8.      [8] “In 2018, we moved everybody under one roof… right next to the Boulevard Brewery.”

9.      [9] “Such a blend between production and post… running back and forth… a zillion times a day…”

10. [10] “A very seamless thing now… more efficient these days.”

11. [11] “We did one for the Chiefs… schedule reveal video… teams compete… one-up each other…”

12. [12] “Project called Chiefs Cab.”

13. [13] “We brought that guy to Kansas City… shot at Arrowhead.”

14. [14] “A minivan-sized cab on a trailer… used a camera car…”

15. [15] “That all had to be recreated in post.”

16. [16] “Composite in scenes of Kansas City… landmarks…”

17. [17] “Post guys really got involved early… knew how everything was being shot…”

18. [18] “End-to-end production… getting involved… clients… strategizing…”

19. [19] “They’d hand you a script and say, make it better…”

20. [20] “Getting involved with some of the creative aspect… up front…”

21. [21] “Partner from day one… through… distribution…”

22. [22] “LED walls in studios… create your own backgrounds…”

23. [23] “Tools… strengthen what we can do… more quickly… greater depth.”

24. [24] “AI tools that speed up what we’re doing…”

25. [25] “AI voices… presentations… scratch reads…”

26. [26] “Director’s treatment… communicate the director’s vision… use AI…”