NOTHING HEREWAS FILMED.
No crews. No locations. No shoot days. Commercials that ran on broadcast, executives who never stepped in front of a lens, and cinema that would have been priced out of existence — written, directed and cut by us, using cutting-edge tech and creativity.
Four ways businesses are using AI video.
Pick the one that sounds like your problem. It'll take you to the clips that answer it.
13 clips.
Start with the one that won.
It's first. On desktop, hover any frame to watch it move. Anywhere, open a clip to see it full size and read how it was made.
Every piece below was concepted, scripted and produced by MX Growth.
The reason your last quote was the problem.
Nothing on this page needed a crew, a location or a shoot day. That is not a craft shortcut. It is the line item that used to kill the idea before anyone got to argue about it.
- Timeline
- Six to ten weeks
- Cost
- Five to six figures
- Changes
- A reshoot, or you live with it
- Risk
- One shoot day, whatever the weather does
- Timeline
- A first cut inside a fortnight
- Cost
- Fixed scope, from $1K
- Changes
- Part of the process, not a new budget
- Risk
- You see it before you commit to it
Which is why the idea you shelved could be back on the table.
Put a number on your idea →We cut the crew. Not the craft.
Your story still gets a script, a cast, a shot list and an edit — the same four steps a film crew would take, because that's what makes a video worth watching. You just don't get the bill for a shoot day.
Write it first
Before a frame exists there is a concept, a script and a reason for anyone to watch. AI does not rescue a story that was never there. Every piece here was written before it was generated.
Lock the cast
Characters — or a real executive — are built as locked references, so the same face survives every cut. This is the step most AI video skips, and it is exactly why most AI video falls apart.
Shoot the coverage
Shots are generated against a real shot list: lens, framing, motion, light. Multiple models, side by side. Best take wins, same as a real set.
Cut and grade
The edit is where it becomes a film. Pacing, sound, colour, and the discipline to throw away the shots you were proud of.
What this doesn't do.
Everything above is the work at its best, which is what a reel is for. Here is the rest of it, before you have to ask.
Will people be able to tell?
On the work above, mostly not — and where they can, it is usually a shot we should have cut. The place it still gives itself away is long, dialogue-heavy scenes between two people. So we do not write those. Every piece on this page is built around what the tools genuinely hold.
Is it brand-safe?
Your brand assets go in and stay in — identity, palette, product photography, the actual product. We do not use a real person unless it is your person, working from their script, with their sign-off on the cut. We will not build someone who has not agreed to be built, and we will not pass generated footage off as documentary or news.
What if we need changes?
Changes are the point. There is no shoot day to go back to, so a note that would once have meant a reshoot means a re-render. Revisions are in the scope, not a variation to it.
Who owns it?
You do. Files, cuts, source assets. If you stop working with us tomorrow you keep everything we made together, the same as every other engagement here.
What will you say no to?
Anything where the script is not there yet. AI does not rescue a story that was never written, and we would rather tell you that on the first call than take the budget and find out together.
The idea you shelved
is back on the table.
It was shelved because the numbers didn't work. The numbers have changed. Tell us what it was.
- Half an hour, with a person, not a form
- You'll leave with a straight answer on whether this fits
- You keep whatever we build together, revisions included
- No pitch, no obligation, no follow-up sequence