AI BRAND FILMS
The hero film at the top of a launch, built in days.
A launch film has one job: make somebody care about a product they have never seen. That used to mean an eight-week schedule, a crew, and a budget that decided whether the campaign happened at all. I build the same thing with AI production pipelines — a 30 to 90 second film, art-directed shot by shot, graded and scored, usually two to three weeks from approved script.
What separates this from generic AI output is that the story exists before the pipeline runs. I write the script, decide the hook, the product beat and the end frame, then lock every shot as a still keyframe you sign off on. Only then does anything move. The pipeline is the camera; the structure, the pacing and the taste are mine, and I throw out far more frames than I keep.
It has limits and they shape the writing. Long unbroken dialogue on a human face is where AI video still falls apart, so I build films that live in product, place, motion and voiceover instead. Editing, sound and grade I direct and review rather than execute in a suite myself. You get a 4K master, web cuts and full commercial rights.
WHAT I DO
- Script and beat sheet — a one-page story with the hook, the product moment and the end card decided before a single frame is generated.
- Keyframe board — every shot approved as a still first, because fixing a frame takes minutes and fixing a finished film takes days.
- The film itself: 30 to 90 seconds, 4K 16:9, delivered as a high-bitrate master plus an H.264 MP4 for the web.
- Voiceover direction — a synthetic read built and directed for pace and emphasis, or your own recording cut in if you have a voice already.
- Sound and music — music licensed for commercial use, mix and sound design directed and reviewed, licence handed over with the files.
- Grade direction — one reference frame per scene, then review passes until the whole film holds a single look.
- Launch-week cutdowns: a 15-second and a 6-second lift pulled from the same master.
HOW I WORK
- 01
WRITE
I take your positioning and write a one-page script where the hook, the product beat and the last frame are already decided.
- 02
BOARD
Every shot becomes a still you approve, so the look is settled while changes are still cheap.
- 03
GENERATE
The pipeline produces motion from the approved frames and I bin anything with melted hands, a drifting logo or the wrong lens.
- 04
FINISH
Edit, grade and sound direction, then delivery of the 4K master with the 15 and 6 second cutdowns.
BEST FOR
- A product or service launching with no existing footage to work from.
- Brands with a fixed launch date who cannot wait eight weeks for a shoot and a post schedule.
- Categories that are expensive or impossible to film — machinery mid-cycle, interiors that do not exist yet, camera moves no rig would survive.
- Founders who want something cinematic on a budget that would otherwise buy half a shoot day.
NOT THIS
- Not paid-social performance creative. Hook-first 6 and 15 second units are written from the opposite end and live on the performance ad creative page.
- Not a real-camera film. If the story needs an actual person on screen talking about their own company, that is Cinematic Production — I direct, brief and review it, I do not operate the camera.
- Not UGC. A handheld, selfie-framed, talking-to-camera ad is a different format with its own page under this service.
THE PROOF
Published case studies from ai commercial production work. Each one names the client and shows what was delivered.
STRAIGHT ANSWERS
REST OF AI COMMERCIAL PRODUCTION
MAKE A
WISH.
Tell me what you're building. I'll tell you how loud it can get.
- /01
YOU WRITE
Tell me what you're building and what's in the way. Two lines is enough.
- /02
WE TALK
A 30-minute call, booked within 7 days. Real questions, no pitch theatre.
- /03
YOU GET A PLAN
Scope, timeline and an honest number, usually within a week.