Studios
Films made with AI.
Directed by a person.
We don't compete on realism. We compete on story. Make it worth watching, and the seams stop mattering.
Ads · A 12-episode series · Documentaries · Short films
Scroll ↓People watch AI video for one of two reasons. To catch the mistakes, or to admire the render. Either way, they've stopped watching the film.
So we stopped chasing realism and started chasing a reason to keep watching: a concept, a character, a reason to sit through the runtime. Get that right and the budget and the render both stop being the problem. We've made films this way since 2023, back when the tools could barely hold a face for two shots. Everything below is that idea, tested one film at a time.
Payzli, walked through.
The best thing we’ve made, so it goes first. Payzli’s whole product, end to end. Written, voiced, and cut. No set, no crew.
2023. The first one.
Nanosmoothies was the first film we made, in 2023, when Pika had just started turning sentences into video. The tools were rough and every usable shot took real work. We shipped it, and we kept going.
The thing we worked out next is still the method. Lock one clean reference of a character, the face, the wardrobe, the world, then drive every shot off it. That is what lets a person stay themselves across a scene, a film, and eventually a full season. Everything after this is built on it.
Footage of things that never happened.
A client walked in with an audio recording and nothing else. No footage, no faces on file, just the sound of a meeting. They asked if it could be a video. That question set the bar for everything in this section.
The answer was yes. We rebuilt the room, the faces, the light, and put the picture back onto the sound, as real as we could push it. Synthetic, but not fake. Every frame is a decision.
Altman, Bezos, Pichai and Zuckerberg, sitting down for a documentary about hidden cloud pricing. None of them ever did. It looks like they did.
A red-carpet moment between two people who've never stood on one together. Made to look like it leaked, not like it was built.
Long-form, since 2023.
Payment Wars was the first ad we ever made, in 2023, when the tools could barely hold four seconds. We made a full-length one anyway. The Super Bowl spot is that same nerve, scaled all the way up.
The first ad we ever made, when the tools could barely hold four seconds. We made a full-length one anyway.
The same nerve, scaled all the way up. A Super Bowl-sized spot, written and cut in-house.
Larry, for Payzli.
Larry is a caveman who can't make sense of modern payment. Which is exactly the problem Payzli solves. We gave him a tattoo shop, a morning show, a whole day in his life, and kept him the same man in every frame.
Whatever the brand needs.
Zingbus wanted their mascot to actually move, so we animated it into the ad. CityLites needed a whole animated world, so we built one. Prequel needed real scale on a brand film, and got it. Live-action ads, UGC, 2D animation, 3D motion graphics. The format changes per problem. The bar doesn't.
Their mascot, brought to life
A full animated world
Brand film, real scale
Things nobody asked for.
No brief, no client. This is where we push the tools past what they're supposed to do and see what breaks first. Because the best reaction a film can get is: wait, what?
A nature documentary where the cars are the animals, narrated the way David Attenborough would. They graze in parking lots, rest at red lights, and migrate down the highway.
AI film doesn’t have to mean photorealism. A 3D motion-graphics explainer, built with the same pipeline as everything else on this page.
Gus
One season · 12 episodes · one office catWe wanted to know if AI could carry an animated series. Not one good shot, a season. So Gus was born: a cat with a desk job, in a 1980s open-plan office rendered in soft clay and felt. The hard problem was consistency, keeping the same cat, the same office, the same running joke across twelve episodes. That used to be the thing these tools couldn’t do. Twelve episodes say otherwise.
Work nobody paid us for.
Every film here started as a question we couldn't put down. We made them to find the answer, and to feel something on the way.
“You have one saved message.”
Our first short film, made for the Scroll Festival. A quiet one. A saved message nobody picks up, and the space around it. That was the whole idea.
What if Spider-Man lived in Bangalore and worked from home? Picked up by @kannadafilmcommunity.
What if a whole film was two people talking inside the day's newspaper?
What if the 80s had shot a documentary about Bangalore? Real archive photos, brought to life.
Every film here started as a question.
Can a series hold one cat for twelve episodes? Can a video exist when only the audio survived? The method below is how the questions get answered, the same way every time, whatever the format.
The reconstructed Zoom call. Picture rebuilt from audio alone.
We give the machine a memory.
Here's the honest problem with the models. GPT and Claude are brilliant for a page and forgetful after ten. Ask one to hold a character across a film and it will quietly reinvent the cat by episode three. So we don't ask. Every film here runs as a flow on Mnema: a director's brief, locked canon, and a memory the models have to answer to. They forget. It doesn't.
The actual flow behind every Gus episode, rebuilt live from our canvas. Hover the nodes.
Gus's canon, read before anything: deadpan, slow blink, short declaratives, no exclamation marks. In-universe, no human ever remarks that he's a cat.
We’re telling you exactly how it works because we’d rather the internet get more creative than sit on a trade secret. The recipe is free. Taste is the hard part.
Built on MnemaBring us a curious problem.
A brand, a goal, an audio file with no footage, a what if. Tell us what you're holding. We'll send back something you can actually watch, before you decide anything.