Question 1

Do you work under NDA?

Accepted Answer

Yes. An NDA is signed before any project discussion begins - not offered on request after a brief has already been shared. This is the default for every agency conversation, and it is the first thing we send when an agency gets in touch, before the first call rather than after it. The reason is practical. By the time an agency describes a brief in enough detail for us to be useful, it has already disclosed the client, the category, the launch window and often the creative idea. Signing an NDA afterwards protects nothing that has already been said in the meeting. Our standard mutual NDA covers client names, brief contents, creative concepts, campaign plans, budgets, timelines and any material shared in either direction. It is mutual because the protection runs both ways. We are happy to sign your agency's paper instead, and in practice that is what usually happens. If your legal team needs changes to ours, we turn revisions around in a day rather than a fortnight. Confidentiality does not expire when the project ships. White-label work stays out of our portfolio, showreel and social channels permanently unless you give written permission. There is no quiet clause that releases the material after twelve months, and there is no case-study exception. For projects involving regulated categories, personal data or pre-announcement product information, we can extend the standard terms with additional handling requirements: restricted file access, named individuals only, deletion schedules after delivery.

Question 2

Can you present as our own studio to the client?

Accepted Answer

Yes. That is the default, not an upgrade. Files are delivered without AI25.Studio branding, watermarks or metadata, and concepts can be packaged in your own deck template with your typography and layout. Delivered files carry your naming convention, not ours - no studio slate at the head of a master, no identifying strings in the file metadata, no watermark on review links. Concept decks are built in your template, so the document that reaches the client looks like every other document your agency produces. Where a project genuinely needs direct contact - a technical question a producer cannot relay, a live review session, a shoot day - we join as part of your production team. You introduce us, on your terms, with whatever title fits your structure. We do not hand out our own cards in that room, and we do not follow up with the client afterwards. The work does not appear anywhere public. It stays out of our portfolio, our showreel and our social channels. We do not enter white-label work into awards under our own name, and we do not use it in pitches to other agencies. If we want to show something, we ask first, in writing, and we accept the answer. Everything else - credits, awards entries, case studies, the client relationship itself - belongs to your agency. Our business is being the partner agencies call again, which only works if the first partnership stays invisible.

Question 3

How do you scope project budgets for agencies?

Accepted Answer

Scope, deliverables, revision rounds and timeline are agreed in writing before production begins, at a fixed estimate rather than hourly billing. You get a number you can put in a client proposal, not a rate card that turns into an invoice you have to explain later. The estimate is built from the production the work actually requires. The factors that move it are duration, creative complexity, the number of scenes, whether characters or products have to stay consistent across the runtime, which production methods are involved, how many deliverables the media plan needs, the revision structure and the schedule. We quote per project rather than per day because agencies cannot sell a day rate to a client. Procurement asks what is included, not how long it took. So the estimate lists deliverables by name, states the number of revision rounds, names the formats and durations, and sets the delivery date. Anything outside that list is quoted separately before it is produced. If the brief changes mid-project - and on a real campaign it usually does - we re-quote before touching anything. That assumption that it will be fine is exactly how an agency ends up absorbing a difference it never agreed to. For agencies working with us repeatedly, a retainer changes the arithmetic. An agreed monthly volume carries roughly 15-20% lower unit cost than the same work commissioned piece by piece, because we can plan capacity rather than reserve it. It also gives you priority in the queue, which matters more than the discount when a client moves a deadline.

Question 4

How do you handle revision rounds?

Accepted Answer

Rounds are defined in the estimate before production starts, so neither side discovers the limit at delivery. A typical project carries two rounds; more can be agreed up front if the client's approval structure needs them. More useful than the count is where the rounds sit. Approval points are built into each phase: concept and treatment, look development and key frames, first cut, and final finishing. The client signs off the direction before we generate at volume, and signs off the look before we build the campaign around it. This matters more in AI production than in traditional post. Changing a character's appearance after two hundred shots have been generated is not a tweak, it is a rebuild. Approving that character at the key-frame stage costs an afternoon. Feedback works best consolidated. One document, one set of timecoded notes, from one person on your side who has already reconciled the client's comments with your own. The distinction we apply is consistent: fixing something that does not match what was agreed is our error and is free. Changing what was agreed is a change order and is quoted. Asking for something never agreed is new scope. We put each item into one of those three buckets in writing, so you can take it to the client as a decision rather than an argument.

Question 5

Can you handle ongoing production for multiple clients?

Accepted Answer

Yes. Retainer work across several accounts at once is a core part of what we do - monthly creative volume, rolling localisation queues, product catalogues that keep growing. A retainer is an agreed monthly volume rather than a fixed list of deliverables. An agency running four accounts does not know in January which of them will need eight assets in March. What it does know is roughly how much production it will need in total. The retainer covers the volume, and the mix is decided month to month. The same senior team stays on your accounts. By the third month the team already knows which typeface the client rejected, how their legal department words a claim and what the previous campaign looked like. That accumulated context is why month four costs less effort than month one for the same output. Retainers carry priority in the production queue. When a client moves a deadline forward, retainer work is slotted before project work - usually worth more to an agency than the lower unit cost. Confidentiality between your accounts is absolute, and so is confidentiality between agencies. We work with more than one agency in the same market. If a conflict is genuinely unmanageable - two directly competing brands at the same time - we will tell you before taking the second engagement rather than after.

Question 6

How is this different from using an AI video generator ourselves?

Accepted Answer

A generator produces clips. A production studio produces campaigns. The distance between those two things is most of the work, and it is the part that decides whether the material reaches air. Any agency can subscribe to the same models we use. The experience is usually identical: the first week produces a handful of impressive frames, and the second week runs into the wall. The character's face changes between shots. The product is the wrong shade in four of the eleven cuts. The client asks for a vertical and it has to be regenerated rather than reframed. What closes that gap is not a better model. It is direction applied before generation - casting locked, references controlled, a look development pass that fixes the visual language. It is a pipeline where generated material moves into 3D, compositing and traditional post rather than stopping at the export button. And it is finishing by people who did that work for a decade before generative tools existed. There is also the part nobody enjoys: licensing that stands up when a client's legal team asks where the imagery came from, and production records that document which models were used on what material. For a social test, none of that matters. For a television commercial in a regulated category, it decides whether the campaign airs. The honest version: if your team has the time and the direction to do it properly, doing it in-house is a reasonable choice. What agencies come to us for is the work where the volume is too high, the standard too exacting, the timeline too short or the review process too unforgiving to learn on.

Question 7

Do you shoot live action, or only generate?

Accepted Answer

We shoot. Hybrid production - live-action footage combined with generative AI, 3D and VFX - is a core part of the work, not an exception we make reluctantly. That includes green-screen and plate shoots, VFX supervision on set and through post, AI supervision during the shoot so the material we capture is usable downstream, and full integration of live footage with generated environments and characters. Some things belong in front of a camera. A performance that has to carry an entire film belongs to an actor and a director on a set. So does a live event, and so does documentary. We say that plainly because pretending otherwise would be the fastest way to lose an agency's trust on the first project that needed a real shoot. Hybrid is also frequently the cheaper answer. A product that must look exactly like the product is often faster to photograph than to generate convincingly. What AI changes is what happens around that footage - extending a location, placing a character in an environment that does not exist, producing fourteen market versions from one shoot. In practice a project rarely sits at one extreme. A campaign might shoot a performance on green screen, generate the world around it, build the product in 3D for colour accuracy, and finish everything in the same grade. The client sees one film. The method is chosen shot by shot, by the people who will finish it.

Question 8

Can you work on material produced by another studio?

Accepted Answer

Yes. Post-production and finishing on incoming material is a standard engagement - editing, colour grading, compositing, clean-up, upscaling, versioning and delivery to specification. This is often how an agency partnership starts. There is no creative risk in handing over a finishing pass, the scope is contained, and it lets both sides find out how the other works before a full production is on the line. The situations repeat. Footage was shot but the post budget ran out. A supplier delivered generated material that cannot be assembled into a campaign. Archive material needs to reach current broadcast specification. A finished film needs eleven more versions for markets nobody planned for. What we need before quoting is the material and the rights position. Rights first: what was licensed, by whom, for which territories, and whether the original production had the releases it needed. If source material cannot be used commercially, no amount of finishing fixes that. Incoming AI material deserves a specific note. Upscaling and clean-up can take generated footage a long way, but consistency problems baked in at generation - a face that changes between shots - cannot be fixed in post at reasonable cost. We will tell you which category a problem falls into before quoting.

Question 9

How do you handle rights and licensing?

Accepted Answer

Every model and asset used in a client project is licensed for commercial use. References are controlled and documented, and usage rights, assignments and applicable third-party licences are set out project by project in the production agreement. The practical question an agency needs answered is what it can tell its client. The answer is that we can provide production records documenting which tools were used, on what material, with which references - to a level of detail the client's legal or brand-review team can work from, rather than an assurance that everything is fine. Our reference material is chosen and documented rather than pulled from the open web. A pipeline built on scraped references cannot answer where an image came from, which is the first question a serious review asks. AI25.Studio is a signatory to Section 2 of the EU Code of Practice on Transparency of AI-generated Content. Signatory status is voluntary and does not constitute certification, approval or endorsement by the European Commission or any other public authority. What it does mean is that transparency practice is built into how projects run. Where a project needs more, we can extend the documentation: AI-content disclosure, model documentation, provenance records, and whatever additional review steps the client's process requires. We are not a law firm and we do not replace your client's legal opinion - we provide the record their legal team needs to form one.

Question 10

Do you produce film and TV series content?

Accepted Answer

Yes. Episodic concepts, trailers, pilots and narrative content for entertainment platforms, distributors, brands and production partners. Longer-form work is also where we develop the methods that end up in commercial projects. The studio produces original AI films - The Mysterious Island, Adiós Papi, The Ocean Within, Metagenesis and Every Petal - and they exist to solve problems before a client brief brings them: recurring characters that hold across scenes, visual continuity over a runtime, coherent environments, consistent art direction. Those are precisely the problems that break AI production at campaign scale. A thirty-second spot can survive a character that shifts slightly. A six-minute narrative cannot, and neither can a campaign with fourteen assets that all have to look like the same world. For agencies this matters in two situations. When a client wants branded entertainment rather than advertising, the production problem is closer to filmmaking than to a commercial. And when an entertainment client or a platform is the client, the conversation is about story, character and continuity before it is about tools. We work on concepts, trailers, pilots and proof-of-concept films made to be pitched. A pilot that exists is a fundamentally different object from a deck describing one.

Question 11

Which markets do you work with?

Accepted Answer

Poland, the EU and the US. The team works in English, Polish, Russian and Ukrainian, and campaigns have been delivered across more than twelve markets. AI25.Studio is based in Warsaw. That means European working hours with meaningful overlap into US mornings, European contracting and invoicing for EU clients, and a cost base that lets a Warsaw studio deliver work at a standard set by the same people who made it for larger markets. Projects run remotely by default. Briefs, reviews, approvals and delivery happen the way they happen for any distributed production. Where a project needs physical presence, we shoot, and we travel. Language work is a separate strength. Localisation is not translation with subtitles attached - it needs dubbing or voice replacement, lip-sync where the picture shows a speaker, graphics rebuilt rather than overlaid, and often a recut because pacing does not survive intact between languages. For US clients: a European production partner with EU transparency practice built in, at a European cost base, in a timezone that overlaps a working morning. For EU clients: inside the same regulatory framework their legal teams already work within.

Question 12

How quickly can you start?

Accepted Answer

We reply to a brief within 24 hours. A concept and treatment typically follow within two to three working days. Production timelines depend on scope and are fixed in the estimate before work begins. The first reply is not a proposal. It is questions - the three or four things that decide the look and the method, which briefs almost never contain. Sending questions on day one rather than a document on day five is what makes the rest of the schedule possible. For a typical campaign - a hero film with verticals and a couple of language versions - four weeks from brief to delivered masters is realistic. Week one is concept and client presentation. Week two is look development and key frames. Week three is production and a first cut. Week four is finishing, versions and delivery. Shorter is possible. A single social asset, an ad variant set from an existing build, or a finishing pass can run in days rather than weeks. What genuinely moves the start date is how quickly the brief, the brand assets and the approval structure arrive. A brief that lands complete on Monday produces a concept by Wednesday. Retainer clients have priority in the queue.

Twój brief. Nasz pipeline. Pod Twoją marką.

Twój brief. Nasz pipeline. Pod Twoją marką.

Twój brief. Nasz pipeline. Pod Twoją marką.

Twój brief. Nasz pipeline. Pod Twoją marką.

Skala, nie talent

Szczyty bez rekrutacji

Szczyty bez rekrutacji

Każdy rezultat

Kreatywność i marketing

Kreatywność i marketing

Harmonogramy, które pasują

Produkcja i postprodukcja

Produkcja i postprodukcja

Kończenie transmisji

Innowacje i Operacje

Innowacje i Operacje

Jak to właściwieprzebiegło

Fotorealistyczny spot telewizyjny, wyreżyserowany i ukończony we własnym zakresie

Telewizor

Telewizor

Telewizor

0

0

0

100%

100%

100%

Realizm, którego budżet nie udźwignął

Realizm, którego budżet nie udźwignął

Realizm, którego budżet nie udźwignął

Najpierw kierunek, potem generowanie

Najpierw kierunek, potem generowanie

Zatwierdzone i wyemitowane

Zatwierdzone i wyemitowane

Zatwierdzone i wyemitowane

AI czy plan zdjęciowy

Cztery kroki, jeden punkt kontaktowy

Krótko

Koncepcja

Produkcja

Dostawa

Krótko

Koncepcja

Produkcja

Dostawa

Krótko

Koncepcja

Produkcja

Dostawa

What we can show you

Scanye KSeF-Pong

Scanye KSeF-Pong

Rampoldi Cannes

Rampoldi Cannes

Adiós, Papi

Adiós, Papi

Showreel 3D i VFX 2025

Showreel 3D i VFX 2025

Portfel Ring

Portfel Ring

GreenBLOKX

GreenBLOKX

Tajemnicza wyspa

Tajemnicza wyspa

Wyczyść upuszczenie

Wyczyść upuszczenie

Adamed Maxon

Adamed Maxon

Food Craft Showreel 2026

Food Craft Showreel 2026

Herbapol

Herbapol

Jedz to, co Ci smakuje

Jedz to, co Ci smakuje

Pokaz stadionowy

Pokaz stadionowy

Micro1

Micro1

Platforma fintechowa

Platforma fintechowa

Skala,
nie talent

Jak to właściwie
przebiegło

AI czy
plan zdjęciowy