From script to screen, end to end.
A data-driven approach to TV commercial production. Same shape as a traditional pipeline. Different middle. Broadcast-ready commercials, in a fraction of the time, with full control over style, tone, and messaging.
What this is
This is the playbook we use for every TV commercial. Treatment up front, generation in the middle, edit and post at the end. Same shape as a traditional shoot. The production day just lives inside our infrastructure now.
The worked example on this page is Meena. One brand spot, one extended family, two eras of one place. We pull every element apart and put it back together so you can see how it actually works.
Four steps, one film
Each step has a real artefact. Nothing happens out of sequence.
Script
Treatment first
Assets
Cast and world
Motion
Performance
Polish
Edit, grade, sound, mix
We start with the script
Treatment, beats, shot list. We prep it like a real shoot. The whole film exists as a document before a single frame gets generated. Every cut earns its place before it lands in the timeline.
For Meena, the treatment had to hold the family together and travel them through time without losing the thread.
Then we lock the cast and the world
Before anything moves, we lock the cast and the locations. One canonical version of each character. One canonical version of each place. The system reads against those references on every shot, every angle, every time.
Meena's cast spans two eras and three generations. The world spans the same. Same place, two times, two interiors, two exteriors.
The Meena cast
The Meena world
Now we put it in motion
Static assets get brought to life with current motion models. Lipsync, performance, camera movement. Same discipline a traditional VFX pipeline brings, with different tools doing the work.
On Meena, motion is what carries the time-travel. The characters age inside continuous performance. The world shifts era inside continuous camera moves.
And finally, polish
The last leg is craft. Edit, colour grade, sound design, mix. Four layers of polish stacked on top of the locked picture.
Sound design used to be the part of post we outsourced. We pulled it back in-house and rebuilt it inside the same pipeline that handles picture. Every TVC we run now gets a custom score, designed Foley, and mix passes from the same team that built the world. The film hits with sound that was made for it, not pulled off a library.
Meena went through this stage in a single thirty-hour sitting after a global model outage knocked the project sideways. The pipeline survived because the cast and the world were already locked. All polish had to do was put it together.
Have a TVC on the slate?
Whether it is a launch spot, a brand film, or a regional cut, this is the pipeline. Fifteen minutes to scope what your version would look like.
Book a 15 minute call