AI Video for Agencies: What You Deliver, and Who Has to Approve It

Who signs off on the file before it goes live, and where the raw material comes from—those two answers usually settle it faster than the descriptions do. Ad Creative Production suits teams that owe a client several genuinely different concepts to test, built from product information the client has already cleared. Client Social Content fits retainers with a monthly count written into the contract, where the pressure is cadence rather than novelty. Video Post Production is for studios that already have footage and need repair work, the presenter layer, and the delivery master around it. Video Localization takes one approved master into other markets, with dubbed and lip-synced editions across 88 languages. When two still feel close, count the review rounds: the one with more names in the approval chain is usually the workflow you’re actually in.

Some won’t care, some will want it disclosed, and a growing number of master service agreements already mention it in writing—so this is a contract question before it’s a product one. VisionStory generates the file and hands it back. What gets delivered, how it’s labelled, whether the client is told, and what the credit line says are decisions between your agency and the client—and it’s a cheaper conversation before the first invoice than after a campaign is live. Two things aren’t negotiable anywhere: a real person’s face or voice can only be used with that person’s written permission on record, and a generated presenter must never be passed off as a real customer giving a testimonial. Platform and advertising rules on synthetic media apply to the account the ad runs on, not to us.

No. VisionStory is software your team operates, not a production company you brief—and there’s nobody on our side reading your creative brief or holding a delivery date. If what you really want is to hand the work to someone else, this is the wrong page; the honest answer is to hire a studio. What these workflows replace is the part of your own pipeline that currently eats up junior hours: drafting, presenter capture, versioning, and language editions. The strategy, the client relationship, and the judgement on what’s worth sending stay within your agency—which is also where the fee comes from.

The tools overlap; the constraints don’t. An in-house team learns one brand, keeps one tone document in their head, and can walk down the corridor to get a decision. An agency runs a roster of brands in parallel, each with its own colour rules, claim restrictions, legal reviewer, and turnaround expectations—and none of that sits in your building. Consistency has to be rebuilt per client, per campaign, from material someone emailed you. It also has to be traceable, because someone will eventually ask which hours went to which account. These 4 pages are written for that reality; the in-house version of the same jobs sits under the marketing solutions instead.

Less than what a shoot needs, more than nothing — and it varies by workflow. Ad creative and social content run on product information the client has already cleared: pack shots, approved claims, offers, and the brand guide. Post-production assumes the client or your own crew has already filmed something. Localisation assumes a finished master nobody intends to re-edit, since dubbing a cut that’s still changing means paying for every language twice. If a real person is going to appear or be heard, their written permission should be on file before the first frame is generated — whether that person works for the client or for you. If no real voice is available or desired, there are 1,000+ voices to choose from instead.