Adrian Elton Creative.
Independent Adrian Elton Creative has launched two un-briefed fully-AI TVCs, aiming to produce performance led spots based on the dry and nuanced comedic sensibility that’s not usually associated with AI video.
One is for RACV, and the other is audio technology brand, Woojer.
Elton told AdNews he combined a mix of AI image and video models across platforms including ElevenLabs, Freepik, Krea, Leonardo AI and Weavy.
“I first generated look frames for the characters, props and locations. From there, keyframes were generated for the start frame of each shot before they were brought to life as video sequences," Elton said.
“The main image model that I used was Google’s Nano Banana Pro, and the video model was Google’s Veo 3.1. Both of these models have already been superseded by Nano Banana 2 and Kling 3.0.
“Importantly, I also made extensive use of Chat GPT to learn how to navigate the process in the first place.
“But the key concepts, scripts, shot-planning and overall direction was 100% me. The AI was used purely as a production layer to help realise those ideas visually."
The pacing, shot selection, timing, and storytelling rhythm were all shaped manually.
The finished spot was upscaled using Topaz Video before it was colour graded in Premiere Pro with a third-party plugin called ‘FilmConvert Nitrate,' emulating old analogue film stock.
Elton also composed and recorded the original soundtracks in his home studio.
“While the latest agentic video workflows are removing the need to edit directly on the timeline in programmes like Premiere, Final Cut or DaVinci, this was still assembled the old-school way, which of course allows for a far more granular level of control,” Elton said.
"While they’re certainly not yet indistinguishable from real footage, the underlying technology is advancing at warp speed."
Audiences are still skeptical when it comes to fully-AI production, with many preferring AI to be transparent or combined with human input.
Elton said that AI is simply a new production tool that should be used in an ethical way.
"CGI production has long allowed for the production of photo-realistic footage - or photo-real elements that have been seamlessly stripped into real footage - and there hasn’t been any equivalent need or call for CGI to be visually detectable," he said.
“AI, in that respect, is simply a new production tool.
“Which is not the same as saying that there aren’t critically important ethical considerations when red lines are crossed and the technology is used in bad faith.
“That said, I do think there will be increasing expectations around disclosure, particularly in certain categories, and that will likely evolve into clearer industry standards over time.”
Elton believes that if his work is done well, the audience won’t be aware nor will be interested in whether the piece is or isn’t AI.
“I’m using the technology as a vehicle for story-telling,” he said.
“I’m aiming for a scenario where the technology is completely invisible in as far as people being drawn into the narrative on its own merits.
“And that’s how advertising is typically consumed. In passing. And tangentially. The only point where it would be relevant to have the audience actively aware that something was produced with AI would be if that understanding was key to understanding the campaign itself."
Elton has recently joined Time Under Tension’s AI Collective, a network of AI specialists, strategists, and creatives.
Elton will also join the AI film production group 'Gunshy AyEye', assembled by Australian filmmakers Clayton Jacobson and Jason Byrne.
The group brings together a small number of accomplished creatives who bring deep levels of craft and story-telling experience to this new medium.
“My personal (and professional) use of AI has never been about ceding creative control. I want to control and author every last detail that I can, with maximum intentionality,” Elton said.
“AI provides a pathway for creating bold cinematic work without requiring the buy-in, permission or support of the traditional gatekeepers.”
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