Story first. Then the machine.
We make advertising films with AI video technology. The technology decides how the frames are produced. It does not decide what the film is, and it never has.
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What did the guppy say?
How a film gets made
The order of work is the same every time, whatever the brand sells.
- 01
The brief
What the film has to do, who it is for, how long it runs and where it plays. Runtime and format are agreed before anything is made. A twenty-second film and a five-second film are different films, not the same film at two lengths.
- 02
The story
Written before a frame exists. One idea, in order, with a reason to keep watching at every cut. If it does not read on paper it will not read on screen.
- 03
The shot plan
The film is broken into shots. Each shot gets a subject, a camera, a light and a duration. This is the step that keeps a face, a garment or a building consistent from one shot to the next.
- 04
The build
Shots are generated, reviewed and regenerated until each one holds. Anything that does not hold is rebuilt rather than hidden behind a cut.
- 05
The cut
Assembled to the agreed runtime. Colour is matched across shots so the film reads as one piece. Sound is placed last, because sound is what tells the viewer how to feel about what they just saw.
- 06
Delivery
Master files in the formats your channels need, ready to upload rather than ready to fix.
What AI actually changes
Three things, and it is worth being precise about them.
Speed
There is no location to book, no crew to call and no day that has to be scheduled around weather. Production begins the day the story is signed off.
How many versions you get to see
On a traditional shoot the number of versions is fixed on the day, because you can only shoot what you shot. Here, a version is a build. You see options where you used to see one option.
Speed is the least interesting of the three. Being able to change your mind is the one that makes the work better.
What a change of mind costs
This is the real difference. On a shoot, changing a decision after the wrap means paying for the shoot twice, so decisions get defended rather than improved. Here, a revision costs time rather than a second production. That changes what it is reasonable to ask for.
What it does not change
The tools produce frames. They do not produce a reason to watch.
A story still has to work. Someone still has to decide what the film is about, what is cut and what the last frame is. Continuity still has to be held across shots, and holding it takes judgement rather than a setting. Sound still has to be considered. A weak idea produced quickly is still a weak idea.
None of that is automated here, and we would not want it to be.
How we hold the standard
We do not send a first pass and call it a draft for you to fix. What you see has already been reviewed against the brief.
We do not put a claim in a film that the brand cannot support. If a line needs proof, we ask for the proof before it goes in.
We will not tell you the technology makes the film good. It makes the film possible. The rest is the work.
Working with us
Every project is scoped on its own. Runtime, number of films, format and the number of review rounds all move the price, so there is no list price to publish. Tell us what you need and you get a quote for that, not a tier you have to fit into.
Service is the part we are least willing to be average at. You get answers, not a ticket number, and the person who reads your brief is the person who makes the film.
