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. They are a sample: we have produced over 200 AI films to date. Watch these 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.
A snack moment staged in a real kitchen — product in hand, packaging readable, no food stylist and no studio day.
A breakfast-table film for a kids’ millet cereal brand. The hardest part of this brief is normally casting and a morning light window; neither was needed.
Interior of a luxury car at night, city lights running past the window. Shooting this properly means a vehicle, a permit and a night crew.
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.
We have produced more than 200 AI-generated films for brands across beauty, FMCG, automotive, education finance, car rental, footwear and B2B. What is published here is a small selection — much of the work sits under client confidentiality or is still in campaign.
Tell us your category and we will send the relevant reel privately, including work closer to your product, your audience and your budget than anything a public page can show.
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 | Typically 2–5 days, 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.
A single commission carries the full cost of setting up look, style and pipeline for one film. Running a monthly volume spreads that across the batch — the same reason batch shooting is cheaper than one-offs.
Who this suits: brands running always-on performance creative, testing multiple hooks a month, or producing regional and language versions continuously. If you need one film this quarter, take the per-film rate — a retainer you cannot fill is not a saving. Volume, mix of durations and story complexity vary the number case to case.
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. For the full breakdown of how this compares with conventional production, read what an AI ad film actually costs in India.
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.
Producing every month costs less per film. Our monthly retainer is ₹2,00,000 plus GST for eight to ten finished films, which puts the effective cost at ₹20,000–25,000 per film rather than ₹50,000. It suits always-on creative; it is poor value if you only need one film a quarter. We have also written a full breakdown of AI ad film costs in India against conventional production.
Typically two to five days 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 very little to that, 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.
For continuous volume we run a monthly retainer at ₹2,00,000 plus GST covering eight to ten finished films — an effective ₹20,000–25,000 a film against ₹50,000 for a single commission, because look development and pipeline setup are shared across the batch rather than carried by one film. Volume, durations and story complexity move the number case to case.
We have produced more than 200 AI films to date; the nine published on this page are a sample, and we will send category-relevant work privately on request.
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.
4.9 / 5
“With our growing presence across diverse domains, an effective digital presence and communication strategy is imperative. We are sure that DigiStreet Media, with its creative skillset and proven digital expertise, will play a pivotal role in elevating JBM Group’s online brand experience, thereby, expanding global brand reach.”
Mr. Dushyant Sharma
Group Head, Marketing Communications & Branding, JBM Group
4.8 / 5
“In an era where digital presence is crucial, we are thrilled to entrust DigiStreet Media with our digital and creative mandate. Their proven track record and innovative approach align with our objectives, and we believe this partnership will elevate our brand in the digital realm.”
Ms. Charu Goswami
Head of Corporate Communications, SLCM
5.0 / 5
“We had this idea in our minds to associate Sirca with homes. This brand communication DigiStreet came up with has really stood strong from that point of view. I also think that this communication has enough scalability to play many stories and has the ability to connect it to both our consumers and key stakeholders.”
Mr. Apoorv Agarwal
Joint Managing Director, Sirca Paints
4.9 / 5
“An ever-energetic team with the true essence of timelines & technology as well as in-depth knowledge – this is what I can say for team DigiStreet. The swiftness and efficiency with which DigiStreet has completed the project well on time is truly commendable. Omaxe’s relation with DigiStreet has further strengthened with this project!”
Mr. Deepak Rawat
Product Head – Marketing, Omaxe Group
4.9 / 5
“We are happy that we are on the cutting edge with our new website and have synergised our entire web experience – social media handles, Amazon store etc. with the website.”
Mr. Amar Wadhwa
Marketing Consultant, Halonix
5.0 / 5
“What intrigued and excited me about DigiStreet is the amount of research and perspective the agency team provided us with. Along with brand communication and marketing outlook, the team has also stepped up with setting up online marketplaces, redesigning product packaging, web development, and social media.”
Mr. Samarth Gupta
Director, Farmer Fresh
5.0 / 5
“Over the last five years, Kavish Arora and the team at DigiStreet Media have become an extended part of our marketing team at Voting Portals. From a simple email design to SEO, website design, digital campaigns and video production, they have consistently stepped in and delivered.”
Don Gonzales
Marketing Head, Voting Portals, USA
4.9 / 5
“We met Kavish during the lockdown, when Cyboard School was still an idea: to build India's first online school. His team helped turn that idea into a market-ready brand through website design, SEO, social media, UGC content and the many day-to-day requirements of launching something new.”
Rajat
Founder & Managing Director, Cyboard School
4.9 / 5
“Kavish and his team worked with us for more than four years across social media, SEO and performance marketing. Their strategic and consistent support strengthened our brand presence and helped us reach international patients from Africa and the Middle East.”
Anupam Pandey
Owner & Marketing Director, Asian Hospital, Faridabad
Awarded Digital Marketing Agency
Over 100
reviews
