| Production | The work receiving sponsorship | For a series, include the episode range. | The Temperature Between Us |
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| Release media (cinema, TV, streaming, etc.) | Where the work will be released | Disclosure and product placement rules vary by medium. If release media are added, recheck this and the contracts together. | Streaming and TV |
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| Owner / contact | Who handles sponsorship | The production-side person who talks to sponsors. | Hana Kim · 010-0000-0000 |
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| As of | The date the sheet is accurate to | Change it whenever contract status or fulfilment changes. | 2026-11-20 |
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| Sponsor | The sponsoring company or body | Use the name exactly as in the contract; put their day-to-day contact in notes. | ○○ Coffee |
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| Type | Form of sponsorship | Choose in-kind, cash, location or production support (the Excel cell has a list). | In-kind |
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| What is provided | What the sponsor gives | For in-kind, list items and quantities; for cash, write “see contract” and leave amounts to the contract. | Coffee beans, cups, aprons |
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| Required exposure (scene / method / time) | What you agreed to show on screen | Give the scene number and method (prop, dialogue, signage, etc.) and refer to the contract schedule for duration or frequency. | Sc 12 · bean bag on counter (prop) · duration per contract schedule |
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| Credit wording | Wording for end credits and similar | Copy the contract wording exactly. | Sponsored by ○○ Coffee |
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| Owner | Crew member looking after this sponsor | Exposure prep is often shared with art and directing, so name who is responsible. | Geonyoung Lee |
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| Contract status | Where the contract stands | Keep it short: in talks, draft review, signed. | Signed |
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| Fulfilled | Whether the promised exposure and credit happened | Change it to ■ after checking the released cut, and note the episode and timecode. | ■ |
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| Notes | In-kind received and returned dates, condition, open tasks | Always record returns and condition — they are the usual source of disputes. | Received 2026-11-10 · not returned |
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