As brands look to engage consumers across an increasing number of platforms and formats, content demands have grown exponentially. AI is now emerging as a powerful creative enabler, helping marketers produce high-quality campaign assets faster, more efficiently, and at greater scale without compromising on creative impact.
SimplifyGenAI works with brands across cinematic brand films, campaign content, product photography, creative asset generation, and voice AI. The company has partnered with brands including Hero Realty, Lodha, Max Estates, Bummer, OFF&LIMITS Footwear, Aditya Birla Fashion & Retail (W for Woman), Yoho Shoes, and Veda by GIVA.
Recently, the company launched “OUTSIDE THE BOX”, a 111-second cinematic AI-generated brand film that showcases how Generative AI can deliver studio-grade storytelling and visual quality while significantly reducing production timelines and costs.
MediaNews4U.com caught up with Gurleen Khurana, Co-Founder, SimplifyGenAI
Q. The company recently created a short movie featuring the founders as the main actors. What software tools did the team use to generate the different virtual worlds in this video?
So we used a bunch of different tools for this, it’s a stack, not one magic button. The visuals and the frames we generated using Nano Banana Pro, and then for the actual video generation, we used Seedance 2.0. The scripting and the ideation was mostly done by us, by humans, we just used AI on some edges to help with the script.
The whole thing was inspired by the Marvel multiverse idea, which is where all the different worlds came from. Editing was done in Adobe Premiere, and for the music we used Suno AI. So a lot of tools, but the human creative direction is what actually holds it all together.
Q. The company founders cast themselves in a recent project to prove what is possible today. How did your existing clients react to seeing their tech vendors acting in a sci-fi boardroom scene?
Honestly they were blown away. And the bigger thing wasn’t even us acting in it, it was them realising what is possible now. Once they saw it they understood that the only real limitation today is human creativity, not budget. You don’t need millions of dollars to make ads that look like this anymore, basically whatever you can think of can be created.
That was the shocking part for a lot of them, seeing their own vendors pull off a full sci-fi scene and then realising they could do this for their own brand too.
Q. What other marketing innovations can we expect in the coming months as the company promotes itself?
For us the next step is to showcase our work across completely different mediums and different emotional wavelengths. So from live-action to image, to something that is heavy in dialogue, to emotional, to high action. We want to show that we can cover all the bases, not just one style.
A lot of people can do one kind of thing well, we want to prove we can move across all of them and still keep the quality high. That range is the main thing we’ll be pushing in the coming months.
Q. Will short-form educational videos be very important?
Yeah, a hundred percent. I think short-form educational content is going to be huge, because that’s just how people consume now, nobody is sitting and reading a long thing, they want to watch and understand something in thirty seconds. And with AI, you can produce that kind of content at scale, in multiple languages, without it costing a fortune.
For us, it’s also the best way to show brands what’s actually possible, you teach and you demonstrate at the same time. So yeah, short form educational video is going to be a big part of how everyone builds trust and authority, us included.
Q. Your studio works across many formats, including product photography and cinematic films. Which of these services is currently bringing in the most revenue for your business in India?
Right now, cinematic films are bringing in the most revenue for us in India. But product photography is growing day by day, and honestly that one is going to be way more scalable, because there are lakhs of D2C brands in India that can use a product photography service like this.
And it’s not only a service, but we also have a platform where anyone can go and create these high-end shoots for themselves. So cinematic is the bigger revenue today, but product photography is the one I see scaling the most going forward.
Q. Traditional video production takes weeks of planning, shooting, and editing. When a brand hires your team, how many days does it usually take to deliver a final video?
We generally try to do everything in about two to three weeks. That’s actually one of the main reasons brands come to us, either they are tight on timeline, or they have something they want to release quickly and they can’t wait for a traditional production cycle that runs into months. So speed is a big part of our pitch, but without dropping the quality.
Q. Many marketers complain that AI-generated faces look unnatural or have strange glitching errors. How can you promise studio-grade quality to big brands when the technology still struggles with basic human consistency?
See, AI is only as good as the person behind it, and we have a team of highly qualified creative professionals. The way it usually goes is, a brand sees our work first, and then when we tell them all of it was made with AI, that’s the shocking moment for them, because they genuinely could not tell.
The glitching and unnatural faces occur when people don’t have the right workflows or talent. If you have the right people and the right process, you can create something that looks completely natural, even on a live-action level. So honestly that complaint doesn’t really stand where the technology is today. And remember, this is the worst AI is ever going to be, it only gets better from here.
Q. You help brands create personalised content at scale. How are you measuring whether these highly specific AI videos actually drive sales compared to standard video ads?
So here’s how I look at it. At the end of the day AI is just a tool, what actually drives sales is the messaging and the emotion in the video. The consumer cannot tell whether it’s AI or live-action, so the AI video is competing on exactly the same field as any other ad.
Which means that we measure it the same way you’d measure any creative, the real performance numbers, click through, conversions, return on ad spend. The actual advantage is that because we can make ten or fifteen variations cheaply, we can test a lot more and find the winning creative faster. So it’s not about it being AI, it’s about which creative converts, and AI just gets us to that answer quicker.
Q. The company has worked with real estate companies like Lodha and Max Estates. Why are property developers turning to generative video instead of using standard architectural animations or real photographs?
A few reasons. First, real photos and standard architectural animations can only show you what already exists, but with generative video you can show the property before it’s even built, the lifestyle, the feeling of living there, basically the dream.
Second, it’s fast and you can iterate. With live action, once you commit to one path you’re stuck with it, but with AI you can experiment with different looks and different moods very quickly and pick what works. And third, you get an emotional, high quality brand film at a fraction of the cost. For a developer that combination is hard to ignore, because they’re selling an experience, not just a building.
Q. Your new film shows you in a desert battle and an anime forest. Do you write the scripts first, or do you let AI suggest the storyline based on random images?
No, we always write the script first, there’s a human in the loop driving that. We don’t let AI suggest the storyline from random images, because honestly AI scripts come out very generic, they won’t give you a good result.
The creativity and the story has to be led by a human, at least for now. We use AI to help and to speed things up, but the actual idea, the structure, the emotional beats, all of that is human. The visuals come after the story, not the other way around.
Q. The company helps brands with voice AI alongside visual assets. Are Indian consumers reacting positively to AI voices, or do they still prefer hearing real human actors in commercials?
The thing is, if you can tell that a voice is AI, that just means it’s not a good voice. The newer models are so expressive now that you can prompt them to laugh, to cry, to breathe, to talk exactly like a regular person. These voices are basically indistinguishable from a real human.
So the way I see it, if a consumer can tell the voice is fake, then either you’re not using the right voice or you’re just doing a bad job with it. When it’s done right, people react to it the same way they react to a real voice, because they genuinely can’t tell the difference.
Q. The company claims that AI video reduces production costs significantly. If technology makes video creation cheap and accessible to everyone, how will your creative studio maintain high profit margins over time?
I actually think creative studios will keep healthy margins, and the reason is the human part. Yes the tool gets cheaper and more accessible, but the value was never really the tool. It’s the directors, the creative directors, the people with the vision and the taste, that’s where the value sits and that part doesn’t get commoditised.
Anyone can buy access to the same AI, but they can’t buy the creative judgment that makes the output actually good. So the studios that win on margin are the ones selling that vision and direction, not just the rendering. The tool being cheap actually helps us, our cost goes down, but what people are paying for, the creativity, stays valuable.
Q. Ad agencies are built on copyrighting unique human ideas. If your software relies on scanning existing online databases to create videos, how do you legally guarantee that a client’s campaign is entirely original?
For us the creative is always human led, so the script and the core idea are done by a person, AI just assists with the execution. That’s actually what keeps a campaign original, because the concept is coming from a human mind that understands the brand, it’s not pulled from some database.
We’re not scanning the internet and stitching things together, we build an original idea first and then use the tools to bring it to life. And the models generate new visuals, they’re not lifting existing footage. So the originality comes from where it always came from, the human idea at the start, and that’s what makes every client’s campaign genuinely their own.
Q. Your portfolio includes fashion and footwear brands like Bummer and Yoho Shoes. How difficult is it to train your AI models to accurately display specific clothing textures and shoe materials?
This is actually one of the harder problems, and it’s exactly where we built our own thing. We have a proprietary agentic system that’s very accurate at capturing clothing texture and shoe material. The way it works is, the system actually looks at the image, describes the texture and the material in detail, and then that description gets passed into a different system that generates from it.
We’ve basically built our own agentic pipeline that handles all of this, and honestly, that’s a bit of our secret sauce, so I won’t give away the whole thing. But that’s why our fashion and footwear work holds up on the material detail, which is usually the exact place where AI struggles.
Q. Given that your studio focusses heavily on speed and content velocity, what is your hiring plan for the next year? Are you looking for traditional filmmakers or computer software engineers?
Honestly, with the way the technology is evolving, even we don’t fully know what our hiring will look like, because we’ve shifted so much to an agentic system, basically specific skills and workflows. Right now a single person using these workflows can do the job of ten people. If you’d asked me a year ago I’d have said we need to hire a lot, but with the agentic systems we’ve actually brought our hiring down.
What we’re really looking for now is creative people, people who can think creatively, because that’s the missing piece. We want traditional filmmakers who understand how ad creation actually works, who have taste and a real creative vision. On the software side, honestly for our kind of work that’s close to a solved problem now, a good agentic system with proper context and memory does that job better than most. So my honest answer is, I need creative people, not coders, because creativity is the part that’s still genuinely hard.
