AI Video Production in Singapore

We make brand films, campaign films and generative content in Singapore, for brands here and internationally. The work is made with AI models. It is directed, art-directed, retouched and cut by people who spent fifteen years doing the same job with a crew of forty and a permit. That order matters, and it is most of what separates one of these studios from another.

What you are actually hiring

A model will give you a competent frame on request. It will not tell you the frame is boring, that the light comes from nowhere, that the silhouette turns to mush at thumbnail size, or that the cut lands two beats late. Those judgments decide whether a film holds anyone's attention, and they are learned on sets and in edit suites.

So what a brand buys here is not access to software. It is the direction, the taste and the repair work that happens after the model has done the fast part — plus somebody who tracks which tools are commercially safe this quarter so your team does not have to.

Typical work: brand films and launch films, campaign and social cutdowns, product and fashion film, concept and pitch films, still campaigns and art direction, and localisation of an existing film into new versions.

Fifteen years on real sets came first

Call sheets, permits, a crew standing in a car park at five in the morning waiting for the light. Work across Asia Pacific for McDonald's, Pepsi and Huawei came out of that, alongside campaigns that had to earn attention with no media budget behind them — HIV Doesn't Differentiate, Save Our Moms, Face to Face.

None of that was made with a model, and it is the reason the AI work holds up. The tooling changed. Knowing whether a scene is working did not.

How a job actually runs

One. The brief, and one question. Does anything in the film have to stay itself — a face, a garment, a product — shot to shot? That single answer moves the schedule by an order of magnitude, and it is the thing most briefs leave out. We wrote a short guide to what actually helps.

Two. Direction before generation. What the film is, who is in it, what the light does, where the cut falls. Get this wrong and no model saves it.

Three. Generation, then the part nobody shows. The model produces frames; a person then fixes the seam that reads wrong, the hairline that drifts, the reflection that belongs to no light in the scene. Across the work on this site, roughly two thirds of it went through hand retouching after the model had finished.

Four. Finish. Grade, sound, cut — the same craft it has always been.

Which models a brand is cleared to use

This is the question procurement asks and most studios cannot answer. At contract stage only one thing matters: if a rights holder makes a claim, who pays. Everything else is creative preference.

The short version. Google Veo has the cleanest enterprise posture of any frontier model, named on Google's indemnified services page — but only through the enterprise API and only on GA model versions, not preview models and not the consumer app. Runway indemnifies on its Enterprise plan only, and that coverage extends to other labs' models hosted there. And the cheapest strong model on the board can be the one you cannot touch: MiniMax H3's open weights carry a licence excluding the US, the EU, the UK and South Korea outright, which is not a technicality a Singapore studio can shrug at when the film runs in Germany.

Where it breaks

Worth saying plainly, because a studio that claims none of this has not shipped enough of it.

Holding a character identical across a long sequence is still the expensive problem, and it is the single biggest driver of cost and schedule. Hands and fine detail still drift and still need a retoucher. Legible type generated in frame is unreliable enough that it usually goes on in After Effects. And late changes are harder than in live action — a change to a character or a look does not re-light a set, it re-generates everything built on top of it, which is why the decision points sit earlier here.

None of that makes the work worse. It makes the planning different, and we would rather tell you before the brief than after it.

This is not an experiment any more

Promise put more than five hundred AI-generated shots into Harlan Coben's Final Twist season two, which premiered on CBS in October 2026 with a credit trail. Coca-Cola's holiday films ran through Silverside AI and Secret Level with around a hundred people involved. Svedka's Super Bowl LX spot was the first primarily AI-generated national Super Bowl ad. Toys"R"Us premiered an origin film at Cannes made with Sora before public access.

Not all of it was cheap, and that is the point. We keep a running ledger of what each studio has shipped against what it has announced, because announcements get repeated until they read as output.

What it costs

There is no rate card, and the reason is not coyness. Two films that look the same length in a deck can be a week apart in actual work, and almost all of that difference sits in whether something has to stay itself from shot to shot. No tier on a price list can tell those apart.

One number is worth publishing: projects start at US$15,000. Below that we are the wrong studio, and we will say so and point you somewhere sensible rather than take the work and do a thin version of it.

Common questions

How long does an AI brand film take?

It depends almost entirely on whether a character, product or garment has to stay recognisably itself from shot to shot. Work with nothing to hold can move in days. Work that has to hold a face across a sequence is a different job and should be planned in weeks. We will tell you which one yours is at the brief stage rather than after it.

Is AI-generated video legal to use in a brand campaign?

Yes, with care about which model produced it. The question that matters commercially is indemnification — if a rights holder makes a claim, who pays. Google Veo through the enterprise API and Runway on its Enterprise plan both carry indemnities with conditions attached, while some strong open-weight models carry licences that exclude whole territories including the EU and the UK. We pick the model to fit where your film will run.

Will it look like AI?

That is a question about execution rather than about AI. The generation is the fast part; roughly two thirds of the work on this site went through hand retouching afterwards, which is most of the difference between a frame that survives a client review and one that does not.

Do you work with brands outside Singapore?

Yes. The studio is based in Singapore and the work runs internationally. Where a film will be distributed does matter, but for licensing reasons rather than production ones — it changes which models we are willing to use.

Can you work from our existing brand assets?

Yes. Existing product shots, brand guidelines, a previous film or a set of references all make the work more accurate rather than less. Tell us what the film has to do rather than what it should look like, and send whatever you already have.

What do you need to quote?

What the film is for, roughly how long it runs, where it will be distributed, and whether anything in it has to stay itself from shot to shot. Those four answers set the shape of the job.

Start a brief

Tell us what the film has to do rather than what it should look like. The contact page is here. You can also see the work, read what to look for in an AI film studio in Singapore, or go deeper into how the studio works.