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

Who signs 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 the repair, 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 of them still look close, count the review rounds: the one with more names on the approval chain is usually the workflow you are actually in.

Some will not care, some will want it disclosed, and a growing number of master service agreements already say something about it in writing, so this is a contract question before it is a product one. VisionStory generates the file and hands it back. What gets delivered, how it is labelled, whether the client is told and what the credit line says are settled between your agency and the client, and it is a cheaper conversation before the first invoice than after a campaign is live. Two things are not negotiable anywhere: a real person's face or voice may only be used with that person's written permission on file, and a generated presenter must never be passed off as a genuine 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 is nobody on our side reading your creative brief or holding a delivery date. If what you actually want is to hand the work to somebody else, this is the wrong page, and the honest answer is to hire a studio. What these workflows replace is the part of your own pipeline that currently eats junior hours: drafting, presenter capture, versioning and language editions. The strategy, the client relationship and the judgement about what is worth sending stay inside your agency, which is also where the fee comes from.

The tooling overlaps; the constraints do not. An in-house team learns one brand, carries one tone document in its head and can walk down the corridor for a decision. An agency runs a roster of brands in parallel, each with its own color rules, claim restrictions, legal reviewer and turnaround expectation, and none of that lives in your building. Consistency has to be rebuilt per client, per campaign, out of material somebody emailed you. It also has to be traceable, because someone will eventually ask which hours went to which account. These four pages are written for that reality; the in-house version of the same jobs sits under the marketing solutions instead.

Less than a shoot needs, more than nothing, and it differs 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. Localization assumes a finished master nobody intends to re-edit, since dubbing a cut that is still moving means paying for every language twice. If a real person is going to appear or be heard, their written permission belongs on file before the first frame is generated, whether that person works for the client or for you. Where no real voice is available or wanted, there are 1,000+ voices to pick from instead.