AI ad videos that don’t look like AI made them.
We write, generate, and cut short ads for businesses that can’t justify a film crew. Then someone who didn’t build the spot goes through it frame by frame and throws out everything with a tell in it. That second part is the job.
34 seconds. Every frame generated. This one is ours, so we can show it without asking a client first.
People can’t name what looks wrong. They just stop watching.
Nine of fourteen takes went back before anything was cut together. The client and product are stripped out; the defects are verbatim.
Whoever reviews a spot did not build it. They work off a standing list, step through it a few frames at a time, and crop into hands, jewellery, signage, and any text the model decided to invent.
A take only passes if someone makes the case for it. Left alone the answer is retake. Anything caught in one shot gets checked against every shot still to come, so the same mistake never shows up twice in one ad.
It is slow work, and it is most of what you are paying for. Skip it and you get the same thing everyone else is posting.
About this work. TSD Marketing is a new name on ad video TSD Ventures has been making since early 2026 for insurance agents and a few local businesses. The spot at the top is our own, which is why we can put it here. We have not asked the clients about naming them yet, so we haven’t. When we do, their work goes on this page with their names attached.
The five things we make.
The hardest format and the one worth having. We register your likeness with a signed release, condition the voice on your own recordings, and build the spot around you talking straight to camera. No stock text-to-speech reading your personal-brand copy in someone else's accent.
Every take gets checked against you: the hairline, the jawline, the ring, the way the mouth actually moves on your name. Faces drift over a few seconds of generation, and drift is what makes people feel something is off without being able to say why.
- Signed likeness release on file first
- Voice conditioned on your recordings
- Direct-to-camera delivery
- Face and detail check on every take
- Pronunciation pass on names
Short vertical spots that look like somebody filmed them on a phone, because the feed punishes anything that looks bought. One person, one setting, one clear line, cut into a relay so the spot moves without a cinematic budget behind it.
This is the cheapest format to run at volume and the easiest to get wrong. Busy scenes and animated typography come out mangled, so we keep the frame simple on purpose and put the work into the writing.
- Vertical 9:16 masters
- Multi-person relay structure
- Plain captions, burned in
- Hook variants for testing
- Feed, Reels, and Stories cuts
Real camera language: a named light source, a camera move that means something, a beat structure that builds. We shoot these short on purpose, because generated footage falls apart the longer a shot runs and a tight cut is stronger than a drifting one anyway.
Scored and mixed properly, with the voice sitting over a bed that ducks where it should. Most of these run under a minute and get used for years.
- Shot list before anything generates
- Original score, cut to the edit
- Voice, ambience, and music mix
- Colour and grain pass
- Broadcast and web masters
When there is no on-camera talent, this is the fastest thing we make. You describe the work, we build the footage around a narration track, and the whole thing is measured to the script rather than the script being squeezed into the shot.
Useful for the jobs a camera never happened to be at: the crawlspace, the roof in February, the install that finished at nine at night.
- Narration timed to the edit
- B-roll you can reuse later
- Product and packaging shots
- End card with your marks
- Source clips handed over
A finished spot is not one file. It is a six-second bumper, a fifteen for the feed, a thirty for the pre-roll, each in vertical, square, and wide, each with the caption burn the platform prefers and the hook that tested best.
We build the long version first and cut down, because cutting down keeps the story intact and building up never does.
- 6s, 15s, and 30s edits
- 9:16, 1:1, and 16:9 framings
- Hook A/B variants
- Captioned and clean versions
- Named to the platform's spec
That ad, taken apart.
6s
6s
6s
7s
6sSwipe for the rest
Whoever made the shot doesn’t get to approve it.
The brief
Half an hour on what the ad has to do and who it is talking to. If a real person is fronting it, the likeness release gets signed here, before anything goes near a model.
The bible
Shot list, reference images, voice, and the rules this ad lives by. We write it once and reuse it, which is why your second ad costs less than your first.
Generate wide
Every shot gets generated a few different ways at once. Having options beats rerolling the same shot until it behaves, and it takes less time.
Review to reject
Somebody else steps through it frame by frame, crops in on the details, and sends back anything they are unsure about. What they find gets checked against every other shot too.
Cut and hand over
Cut together, scored, mixed, captioned, and sized for every platform you run. The takes we rejected come with it.
TSD Ventures
Gastonia, NC
You agree the price before we make anything.
Per spot
One finished ad, every cut of it, and no commitment after that.
Quoted off the brief and locked. If the review sends half the takes back, we eat it.
- Every platform cut
- Rejected takes included
- Two revision rounds
- Files handed over
On retainer
New ads every month, all built off the same playbook.
The playbook, reference images and voice get built once and reused, so your cost per ad drops after month one. Thirty days' notice to stop.
- Two to six spots a month
- Playbook kept current
- Priority in the queue
- Quarterly refresh of references
Or build the month yourself.
Move the four inputs and the number lands inside the ranges above. The breakdown underneath shows how it got there.
Generation, review, revoicing, assembly, captions, and every platform cut. Model credits are ours to worry about and never billed through to you.
A starting number off four inputs. The real quote comes after we read the brief, and it is fixed before anything is generated. Send us the brief.
We turn down more than we take.
We keep it to four clients because a rushed reviewer stops rejecting things. Have a look at the right-hand list before you call. If you are on it, we would only waste an hour of your day saying so.
- You know what you want to say and need somebody to make it.
- You want volume, the same story cut nine ways and refreshed every month.
- A real person fronts your business and will sign a likeness release.
- You are somewhere a film crew would cost more than the ad is worth.
- You would rather watch one finished ad than read a deck about ads.
- You want the cheapest clip you can get and don't much care how it looks.
- You need it by Friday. The review takes days and it is the whole point.
- You want us to run the media buying too. We only make the video.
- The person on camera has not agreed to have their likeness generated.
- You want a real crew and real actors. Sometimes that is the right call.
Two halves of one company.
TSD Ventures is a holding company out of Gastonia. One side builds the systems and this side makes the video. The ad work got too big to keep billing as a line item on a web project, so we gave it a name.
Send us a brief and the price comes back fixed.
Tell us what the ad has to do and who it is talking to. You get a quote off the brief, it locks before we generate anything, and the retake log ships with the finished files. If you would be better off hiring a camera crew, we will tell you that instead.