AI-assisted video production & content
Machine scale.
Human craft.
We build video for the platforms that pay for it — long-form, vertical, series, any subject. A machine does the part that must be identical every single time. A person decides everything that matters. Eight productions delivered. Around 300 finished clips. Archival sources licensed, credited and hashed.
Made with AI. The photograph at each end is real; every frame between them is generated. We label it on every platform we publish to. Read the standing statements
Then — archive Now — render
Drag the seam. Or use the arrow keys.
Left is the archive field. Right is the render field. The seam is where the morph happens.
What we make
Video that earns where it lands.
Framelith is a video production and content company. We are not tied to one subject or one format — we build whatever the destination pays for. A long-form master for the channel. Vertical cutdowns for the feeds. A series that runs for months.
What does not change is the method. Every platform gets its own geometry rather than a resized copy. Every asset arrives with its licence attached. Every clip goes out labelled as AI-assisted. That discipline is subject-agnostic — it applies to a sports series and to anything else we are asked to make.
Our signature format: THEN vs NOW
A real archival photograph of someone at their peak becomes a real present-day photograph of the same person. One face turns into the other. No cut in the middle, no dissolve, no ghost of two faces at once. It is the format the eight delivered productions below are built on, and the one that taught us the method.
9:16 · 1080 × 1920 · 30 FPS · −14 LUFS
Standing statements
01 Synthetic media
This work is made with AI. The photograph at each end of a transformation is real. Every frame between them was computed, not photographed — those in-between moments never happened.
Framelith labels AI-generated and AI-altered content on every platform it publishes to. Where the platform has its own AI-disclosure control, we use it, so the label sits on the upload itself. Where it does not, we say it plainly in the video and in the description. We do it whether or not anyone asks, and whether or not anyone would notice.
02 Likeness
The work is celebratory and editorial. Nobody shown in it has endorsed, sponsored or approved Framelith, and nothing here should be read as a partnership with any person shown. We do not put words, actions or statements into anyone.
Some archival photographs show people who were children at the time. We use only published, openly licensed photographs of a public career, we generate nothing beyond the movement between two real pictures, and we do not use images of children in advertising.
If you are one of the people shown, or you represent them, write to us and we will take it down. We do not ask for a reason.
03 Marks
We do not recreate, add or invent club crests, league shields, federation marks or sponsor logos. Jerseys we render are editorial: colour and number only.
Where a mark is visible inside a licensed archival photograph, it is there as part of the historical record, not as branding, and it is never used to suggest a connection. Framelith is not affiliated with, authorised by, or connected to any league, club or governing body.
Delivered work
Eight productions, so far.
Around 300 finished clips. Held internally as F1 through F8. Listed here by subject, not by date. These are all built on the THEN vs NOW format — it is where we started, not the limit of what we make.
- 0152 World Cup legendsThen → Now
- 0225 child prodigiesThen → Now
- 0325 highest World Cup scorers of the 90s and 2000sThen → Now
- 04Iconic shirt numbersThen → Now
- 05“From nothing to millions”Then → Now
- 0652 NBA legends of the 80s and 90sThen → Now
- 07World Cup celebrationsThen → Now
- 0833 NFL stars of the 80s and 90sThen → Now
Competition and league names above are descriptive titles for our own productions. Framelith is not affiliated with, authorised by, sponsored by or connected to FIFA, the NBA, the NFL, or any league, club or governing body.
A note on kit. Jerseys we render are editorial: colour and number only. We do not recreate or invent club crests, league shields or sponsor marks. Nothing here is an endorsement by any athlete, living or dead.
The difference
A morph, not a crossfade.
A crossfade is two pictures fighting over the same screen. One fades out, one fades in, and for about half a second you see a ghost of both and believe neither. It reads as a slideshow.
A morph is one picture becoming another. The frames in between are generated, so the jaw, the hairline and the eyes actually travel to their new positions. Nothing dissolves. It reads as film.
We build every transformation as a first-frame to last-frame interpolation. The archival photograph is the first frame. The present-day photograph is the last frame. The machine draws the road between them, and a person decides whether the result is good enough to ship.
This is a house rule, not a preference. If a pair can only be joined by fading one picture into the other, it has not been transformed, and it does not go out.
One field becomes the other.
A hard leading edge travels across. At every instant one field is solid. Nothing is transparent, so nothing looks uncertain.
A crossfade.
Not our work.
Shown for comparison.
Both fields at once, neither solid.
In a crossfade both faces are visible at once and neither is solid. In a morph one face is always solid, and it is changing shape.
Technique shown with brand plates. No photograph of any person appears on this page.
The Content Machine
One master in. Platform-correct clips out.
The machine handles the parts of the job that must be identical every single time. That leaves the hours for the parts a person has to judge: which photograph, which moment, which cut.
- 01Master in. One approved long-form edit.
- 02Segment. The master is cut into individual clips. Cuts, never crossfades.
- 03Fit. Each clip is rebuilt for the app it is going to, around that app’s interface.
- 04Band. The reserved strip carries a Framelith brand band instead of losing picture.
- 05Render. 1080 × 1920, 30 frames per second, loudness normalised to −14 LUFS.
- 06Ledger. The provenance file for every source asset ships with the delivery.
Six stages, in that order. This is how the machine runs today, and a clip that skipped one is not a Framelith clip.
Every app eats a different amount of your picture.
Each platform lays its own interface over the bottom of a vertical video: buttons, captions, the handle, the sound name. The height of that furniture is different on every app. It is easy to ignore this and let the buttons sit on top of the picture — a share button ends up through somebody’s face. We reserve the strip instead: the footage is scaled into the clear region above it, and the strip below carries a Framelith band. Nothing that matters is ever placed where a button is going to land.
| Platform | Reserved strip | Target length |
|---|---|---|
| YouTube Shorts | 340 px | ~30 s |
| Facebook Reels | 400 px | ~27 s (90 s ceiling) |
| Instagram Reels | 420 px | ~27 s |
| TikTok | 520 px | ~27 s |
Working values as of July 2026. These are the reserved heights our renders are built around. Platforms change their interfaces, so we re-check them and this table gets a new date.
Provenance
Every frame has papers.
When a production uses archival photography, it comes from Wikimedia Commons, and only under CC0, CC BY, CC BY-SA or public domain. Never Getty. Never AP. Never pulled off a search results page because it looked right.
For every asset we record the file we used, the licence it carries, the author the licence requires us to credit, and a SHA-256 hash of that exact file. That ledger ships with the delivery. If anyone asks where a frame came from, the answer is a row in a file, not somebody’s memory.
This costs us time on every single asset. It is the reason nobody has to take our word for anything, and the reason we can answer a rights question with a file instead of a memory.
Ledger fields — one row per asset
- File
- The exact file used in the render.
- Licence
- CC0, CC BY, CC BY-SA or public domain. No other value is accepted.
- Author
- The credit line, exactly as the licence requires.
- SHA-256
- A hash of the file we used, so the asset in the delivery can be proved identical to the asset that was cleared.
Schema shown. Actual ledgers ship with the work.
House rules
These are not aspirations.
A clip that breaks one of them does not leave the building.
Morph only
Frame-interpolated transitions, first frame to last frame. No crossfades, no dissolves, no faked motion between unrelated pictures.
Cuts, not crossfades
Between clips as well as inside them. A cut is cinematic. A crossfade is a slideshow.
Licensed sources only
Wikimedia Commons under open licences, credited, hashed and logged. No exception for a picture we really wanted.
Disclose the AI
Every clip is labelled as AI-generated or AI-altered on every platform we publish it to, using that platform’s own control. See the standing statements above.
No marks depicted
No club crests, no league shields, no sponsor logos. Jerseys are editorial: colour and number.
No endorsement
The work is celebratory and editorial. Nobody in it endorses Framelith, or anything else, and we never imply they do.
If a documented source trail matters on your project, this is why we work the way we do. It is a record of where every image came from — not legal advice, and not a warranty covering how you use the finished files.
The studio
An AI-assisted production house, standing on its own.
Framelith is an independent joint venture, owned in equal halves by its two partners. It stands on its own: Framelith keeps its own accounts, its own files and its own work, and shares none of them.
Machine scale. Human craft. That is the whole brief.
The name
Frame
The unit of a moving image, and the 9:16 frame we ship.
Lith
From lithos, stone: permanence, and craft. Also lithography, the old business of reproducing images.
Enquiries
Start a conversation.
Send one email and tell us three things.
- 01Subject — who or what the clips are about
- 02Volume — roughly how many finished clips you need
- 03Date — when you need them by
If you have a reference clip, link it. We come back with what is possible, how long it takes and what it costs.
A person reads it. Not a form, not an autoresponder.