We write, direct and produce AI-generated ad films — commercials, concept films and product videos made without a shoot, a crew or a location. Same creative discipline as a traditional production house. A fraction of the time and cost.
Below are nine films we made this way, in full — for brands in beauty, car rental, education finance, automotive, footwear and FMCG. Watch them before you read anything else we say about it.
No camera, no set, no crew call. Every frame in these three films was generated — then edited, graded and scored the way any ad film would be. Judge the output, not the method.
A full ad film for a rice and foods brand selling into the Middle East — concept, script and production handled end to end, for a market where a location shoot would have been the largest line on the budget.
A self-initiated concept film for an electric SUV, made to prove what the format can carry: motion, reflection, scale and product accuracy — the things automotive clients assume AI cannot yet hold.
A women's shoe commercial for a sports footwear brand. Product-led, built for social and performance placement, where a brand needs several cuts of the same film rather than one hero edit.
On the Mahindra film: it is a concept piece we produced ourselves, not commissioned work for the brand. We have marked it as such rather than let it sit alongside client films unlabelled — you should know which is which before you judge either.
The films above are brand pieces. These are the other half of the job — vertical, creator-style films made for feeds and paid placement, where a brand needs a dozen executions a month and cannot shoot a dozen times a month. Every one below is generated: no creator booked, no set, no shoot day.
Creator-to-camera product demo for a professional nail brand, shot-for-shot the way a paid UGC brief would be — without booking a creator.
A second execution for the same brand, different SKU. Once the look is locked, further products come off the same build in days.
Salon equipment demonstrated in a salon that does not exist. Three films, one brand, one week — the economics conventional production cannot match.
Executive arrival in monsoon rain, luxury sedan, chauffeur at the door. A location, a car and weather on demand — none of which had to be booked.
The moment an education loan is actually for — a student packing to leave. Emotional narrative rather than product demo, which AI handles better than most expect.
The same proposition as a creator-style piece to camera, for feed and paid placement. One message, two formats, sharing a script.
Why this matters more than the showreel: a brand film is one asset. Performance and social calendars need dozens, refreshed constantly as creative fatigues. Three Viraa films in a week is the point — not that any single one is remarkable, but that the twelfth costs roughly what the second did. Where a brief genuinely needs a real person, our UGC video agency handles that side instead.
AI is not the right answer for every film. These are the formats where it genuinely outperforms a conventional shoot — on cost, on speed, or on things a camera simply cannot do.
Full-length brand films with a script, a narrative and a grade. The Naman and JQR films on this page are both this format — made for broadcast-standard delivery and social cutdowns alike.
For products that do not exist yet, are not manufactured yet, or cannot be shipped to a set. Useful for launches, pitch films and pre-production sign-off before a rupee of real production is committed.
The same film in nine formats. Vertical, square, six-second, fifteen-second, with and without supers — the versions performance marketing actually needs, without a reshoot for each one.
Presenter-led explainers and corporate messages using AI avatars, for teams who need volume and consistency across languages more than they need a studio day.
One film, many languages, matched to the market — including Arabic for the Gulf. We already produce Arabic video for Metso's Middle East operation, and the same discipline applies here.
Aerials, impossible camera moves, weather and seasons on demand, scale and interiors that would need a build. This is where the format stops being a saving and starts being a creative advantage.
The tools changed. The craft did not. This is the same route a TVC takes — the shoot is simply replaced by generation, and the direction moves upstream into the prompt and the edit.
What the film has to sell, to whom, and where it will run. We write the script and the shot list first, exactly as we would for a shoot.
Frames, grade reference and product accuracy locked before generation begins. This is the step most AI video skips, and the reason most AI video looks generic.
Shot by shot, with retries. A usable ten-second sequence often takes many passes — selection is the work, not the generating.
Assembled, colour-matched across shots, scored and mixed. Continuity is where AI film-making is won or lost, and it is fixed here.
Every aspect ratio, duration and language you need, delivered as broadcast and social masters.
Where it goes wrong: brands treat AI video as a prompt problem. It is a direction problem. The films that work are the ones where someone decided what the shot should be before asking a model for it — which is why we run this the way we run a TVC, not the way we run a tool.
Not a pitch for replacing film crews. A straight comparison of where each approach wins, so you can tell which one your next film needs.
| Traditional production | AI video production | |
|---|---|---|
| Timeline | Four to ten weeks — pre-production, shoot days, post | Days to two weeks, start to master |
| Biggest cost | Crew, cast, location, equipment, travel | Direction and post — there is no shoot to fund |
| Changing a shot | A reshoot, with everything that implies | Regenerate the shot; the rest of the film is untouched |
| Extra versions | Costed and scheduled separately | Marginal — formats and languages come off the same build |
| Real people, real place | Unbeatable. A real face and a real location still read as real | Weakest ground. Do not use it for this |
| Impossible shots | VFX budget, or it does not happen | Routine — aerials, scale, seasons, unbuilt products |
The honest summary: AI video is not cheaper film-making, it is a different kind of film-making. It removes the shoot, which is most of the cost and nearly all of the schedule — and in exchange you give up the specific credibility of a real person in a real place. Choose accordingly, film by film.
Most production houses will not quote until they have qualified you. We would rather tell you the starting figure now, so you can decide in the next thirty seconds whether this is a conversation worth having.
A thirty-second product film and a thirty-second narrative commercial are not the same job. Four things decide where your film actually lands.
How we quote: tell us the product, the duration and roughly what should happen on screen, and we will come back with a fixed number for that film rather than a range. If we think a conventional shoot would serve you better, we will say so — on this page we have already told you which briefs those are.
The questions we actually get on the first call, answered the way we answer them on the call.
Badly made AI video announces itself — drifting faces, inconsistent products, that particular plastic sheen. Well-made AI video does not, because the work goes into direction, shot selection and grading rather than into the generation itself.
The nine films on this page are the answer. Watch them and decide for yourself before you take our word for it.
Films start at ₹50,000 plus GST for 30 seconds of finished film. From there it moves with duration, how complex the story is, how many revision rounds you need and how many versions and languages you want.
What we can say plainly is that the shoot is the expensive part of a conventional film — crew, cast, location, equipment, travel — and this format removes it entirely. Scripting, direction, editing, grading and sound remain, and are still done by people. Tell us what you have in mind and we will quote a fixed number for that film.
Days to about two weeks for a single film, against four to ten weeks for a conventional production. The saving is almost entirely the shoot: no scheduling around a crew, a location or the weather.
Additional versions — other aspect ratios, durations, languages — add days rather than weeks, because they come off the same build.
Yes. You own the delivered film and its versions outright, as with any production we do for you. We confirm usage rights and territory in writing before work begins.
If a film needs disclosure that it was AI-generated for your market or platform, we will tell you that up front rather than leave you to discover it.
Yes, and this is one of the format's real advantages — one film, many language versions, without booking a studio for each. We already produce Arabic video and creative for Metso's Middle East operation, so the language workflow is not new to us.
Read more about our work in Dubai and the wider UAE.
No. It sits alongside it. We have produced TVCs and ad films conventionally for years and continue to — some films need a real face in a real place, and no amount of generation substitutes for that.
The useful question is not "AI or not". It is which of your next four films genuinely needs a shoot. Usually it is not all four.
Yes, and that is where the format earns its place in a marketing calendar. Performance and social teams need creative volume that conventional production cannot economically supply — the three Viraa Professional films on this page were produced in a single week.
If your requirement is creator-led rather than generated, our UGC video agency covers that side, and the two are often run together.
AI video rarely arrives on its own. These are the parts of our work it most often connects to.
Send us the product and the idea. We will tell you whether it is a good fit for AI production or whether you would be better served by a shoot — and we will say so even when the answer costs us the job.
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