AI film production for brand films and shorts

What AI film production is

AI film production tells a story with characters, scenes and a score, and generates its shots with AI models rather than filming them. The craft around those shots is a film's: a script, a cast, a camera plan, an edit, a grade, a score and a mix, with a director making each call. We run all of it in one studio, from the first page of the treatment to the final mix.

What changes is where a story can go. A fragrance film can open on a glacier and end in a candlelit apartment. A development film can walk buyers through a building that exists only in the architect's plans. A safety film can stage the accident it exists to prevent, with no one near it. Each one starts the way a filmed scene does: a page of script and a storyboard frame.

Brand films, event films and original shorts

A brand film tells a story around the brand instead of selling one product in a :30 slot. It is the hero piece of a campaign: on the homepage, on CTV, and cut into teasers for social. For luxury, beauty and wellness brands, the treatment pins down light, texture, wardrobe and camera moves before anything is made.

Event and development films are made for one room and one big screen: a keynote opener, a sales suite, a training day, an investor meeting. We frame and finish them for the screen they play on.

Original shorts are stories told for their own sake, with a cast, a world and a score held together for the whole running time. We make our own as studio pieces, and we'll make one for a brand that would rather fund a film than another ad.

Continuity from the first frame to the last

A spot holds a face for :30. A film has to hold it across scenes, costume changes and a full running time, and that is the hard part of AI film.

Every character starts as a sheet: face, build, hair, wardrobe for each scene, and the expressions the script calls for. Every location gets one too: layout, materials, light and time of day. You sign the sheets off with the script, and they work as the cast and the set.

In the 3D previs, every scene is blocked with the camera, the characters' marks and the timing locked, so eyelines match across the cut. After generation, we check each shot the way a script supervisor would on set: which hand holds the glass, how wet the street is, where the light falls, what's on the table. Any shot that breaks continuity is made again.

The sheets carry into the next film too, so a series or a campaign keeps its cast.

From treatment to final mix

We start with a call about the story or the idea, who it's for, where it will be screened and when you need it. A schedule and quote follow the first call.

We write a treatment that sets the look and tone, then the script, then a storyboard frame for every shot. The sheets come next, then the previs, and you approve each stage before the next begins. Production runs scene by scene.

Then the edit, color grade and finishing, with upscaling for large screens. The score is written for the film, not pulled from a library, and sound design and the final mix go on last. You get the master in 2.39:1 or 16:9, plus a trailer, teasers for social and stills from the same shots for posters and press.