Approved stills in at night. Clip variants in every ratio for review.
Promo and product-clip variants from approved stills, rendered on open models on the Azita fleet or on an installation in your building.
Prefer email? hello@azitalabs.com, subject “Promo clip workload evaluation”.
The job
The promo desk's day, and the renders' night.
A promo team approves a still in the afternoon: key art, a show frame, a product on white. Next it wants that still moving, in a vertical cut for the feed, a square for the grid and a wide for the player, at the lengths it cuts to, with the caption in every language the slate ships in. The stills are embargoed until launch, so the clips must be made where your content-security rules allow, never on a public generation service: on the Azita fleet, or on an installation in your building.
- What you bring
- Approved stills, prompts, caption sets, and the ratios, lengths and languages you cut to.
- What comes back
- Short clip takes for each still across the agreed ratios, lengths and languages, returned for your team to review and choose.
By day
The approvals
The team chooses the stills, writes the prompts and the caption sets, and reviews the previous night's clips in the tool it already uses, keeping the takes it likes.
By night
The renders
Image-to-video from the approved stills into short clips, several takes each, across aspect ratios, cut lengths and languages, rendered after the floor empties. When they are ready is agreed in your evaluation.
What runs
What runs for the slate.
Open video and image models of the classes below, chosen for the look your creative lead approves on your own stills. No vendor names: the model is picked against your material, and it changes when a better open model earns it.
- Open image-to-video models
- Turn an approved still into a short moving clip with a controllable camera and a consistent subject, several takes per still.
- Upscaling and interpolation models
- Bring the takes to delivery resolution and frame rate for the player, the feed and the grid.
- Caption and voice models for the slate's languages
- Text rendered in the script the market reads, and a voice line per language where the cut needs one.
- Your review tool
- Clips return to the tool your team already reviews in, with the connection scoped in your proposal. The models render; your people direct and choose.
How it is delivered
Two ways it reaches the slate.
Both routes are scoped around your slate, and how clips reach your review tool is set out in your proposal.
Capacity from the Azita fleet
The work runs on capacity from Azita's installations, with the processing location set in your agreement. If a trailer house or post house cuts your promos today, how it places work on that capacity is scoped in the proposal.
An installation in your building
Azita designs, installs, commissions and operates an installation in your own post or marketing facility, rendering your slate, and meters the work.
Boundaries
Agreed before any work runs.
The custody argument here is contractual: key art, unreleased frames and unlaunched ranges sit under content-security rules that forbid uploading them to a public generation service. Each of these is agreed in your proposal and set in your agreement before any work runs.
- Processing location
- Where stills and clips are processed: on the Azita fleet, or on an installation in your building, as your agreement sets out.
- Model choice
- Which open models render, and the version each is pinned to once your creative lead approves the look.
- Access
- Who can reach the stills, the clips and the installation, and how that access is recorded for your content-security lead.
- Retention and exit
- How long stills and clips are kept during the work, and how they are handled when the agreement ends. Exit and erasure terms are set out in your agreement.
Evaluation
Judged on your own work.
Your creative lead decides, on your stills. Open video models suit short product and promo clips from an approved still; they are not a substitute for a hero campaign film, and this page does not claim they are.
- Representative input
- Approved stills you are cleared to share for a test, with the ratios, lengths and languages on the slate.
- Quality criteria
- The look your creative lead approves: subject consistency, camera movement, caption rendering and how many takes are usable.
- Volume
- The stills, takes and variants in scope, agreed to represent a slate.
- Turnaround
- When the takes are back for review, agreed before the evaluation starts.
- Acceptance
- Your creative lead judges the takes against the criteria. If they do not meet them, nothing moves.
Evaluation template. No measured results
Compare the same work.
Agree the workload, conditions and acceptance criteria before comparing a baseline with Azita.
- Agreed workload
- [Agree before evaluation]
- Same input and scope
- [Agree before evaluation]
- Acceptance criteria
- [Agree before evaluation]
| Comparison basis | Current baseline | Azita |
|---|---|---|
| Output qualityEvaluate against the agreed acceptance criteria. | To measure | To measure |
| Completion timeUse the same start and finish definitions. | To measure | To measure |
| VolumeRecord the amount of work in the agreed unit. | To measure | To measure |
| Data locationRecord the processing location and relevant boundaries. | To measure | To measure |
| Total costCompare the same scope and included cost items. | To measure | To measure |
Commercial basis
Proposal based on your workload and deployment.
There is no price list on this page. Your proposal sets out what is quoted, the commitment and what is included.
Named in your proposal where they apply
- Licences for the review and editing tools involved
- Integration with your asset store and review tool
- Creative review time for the takes
- The commitment, and what is included
Compare quality and total cost on your own workload before you decide.
Where this stands today.
Available to evaluate on your own workload. On the Azita fleet, or on an installation in your building.
Who it is for
Who this is for.
A slate across many markets is a steady workload on its own. It suits the desks that already have the stills, the embargo and the volume.
- OTT marketing and promo teams, and the trailer houses that serve them
- Post houses with an overnight VFX queue that want the rest of the night used
- Fashion, beauty and electronics catalogue holders turning stills of unlaunched ranges into listing and social clips
- Brand studios with embargoed launches and many markets to cut for
Not your kind of work? See other workloads
Straight answers.
Do our stills ever touch a public generator?
Not unless your agreement allows it. Where stills and clips are processed is set in your agreement before any work runs: on the Azita fleet, or on an installation in your own building.
Is the look good enough to ship?
Your creative lead decides, on your stills, in the evaluation. Open video models suit short product and promo clips from an approved still. They are not a substitute for a hero campaign film, and this page does not claim they are.
How many clips do we get?
That depends on your stills, ratios, lengths and languages. Volume is measured in the evaluation and set out in your proposal, rather than quoted from a brochure.
How is it priced?
Proposal based on your workload and deployment. There is no price list on this page. We agree a representative job and the acceptance criteria, then set out what is included, the commitment and the total cost next to what you use today, before you decide.
Who owns the clips, and who directed them?
Ownership of the clips is set out in your agreement, and your people direct them. The models render on your stills under your prompts. Azita does not sell creative and does not sell media.
What does our content-security lead need to see?
The arrangements set in your agreement: where stills and clips are processed, who can reach them, which model versions run and what happens at exit. Which certifications apply to your deployment, and their status, are set out in your proposal.
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Start with your own workload.
Send one slate's stills
A handful of approved stills you are cleared to share for a test, the ratios and lengths you cut to, and the languages on the slate. We agree the acceptance criteria with your creative lead, then compare the takes, turnaround and total cost with what you use today. We’ll review what you need to run and contact you to discuss the right setup.
Arrange a workload evaluation