Notlith · Rochester
AI video production in Rochester: a booth film for an optics maker
Rochester has been tied to imaging and optics since George Eastman’s day, and the region still designs lenses, coatings and photonic components. Notlith makes AI-assisted ad films remotely from a company’s own photographs and data. This page follows one scenario: an optics supplier that needs a short commercial for its booth at SPIE Photonics West, the January show in San Francisco, and for the campaign that runs around it.
Remote production · From your photos
Glass that bends light the way glass really does
An optical component is judged by the way it handles light, and the engineers walking a show floor know exactly how a lens, a prism or a filter should behave. Image models do not. Left alone, they draw beams that refract at impossible angles and coatings that shimmer in colors the part never shows. So every close view of the component is built from your own photographs, lit and composited, not generated.
AI then does what it does well: the world around the part. A dark set crossed by a thin line of laser light, a slow pull back from an assembly, a clean room suggested only by color and haze. When a shot has to express a measured result, such as transmission across a wavelength band, we draw it as a graphic from your data rather than painting it onto a lens.
Bench photos, CAD views and a datasheet
Optics firms around Rochester often hold more usable material than they expect: product photos taken on the bench, renders exported from the CAD model, application notes, a datasheet, perhaps a phone clip of an alignment station. We sort it into three piles: what can appear on screen, what guides the generated scenes, and what only informs the script.
The script is where claims get settled. Every number in the film, whether a tolerance, a wavelength range or a damage threshold, comes from a document your team has already released, and your engineers approve the wording before a single frame is rendered. If a specification is still moving, the film shows what the part does and leaves the figures to the sheet.
Finished before the crates leave for San Francisco
Photonics West takes place in late January, so the film is made in the autumn, while the sales team is still settling booth graphics. A booth loop has its own grammar: it repeats, it plays without sound over a noisy aisle, and a visitor may catch any ten seconds of it. We build it from short, self-contained beats, each carrying one idea and the company name.
Review rounds are planned around your engineers rather than the marketing calendar, because they are the ones who will notice a wrong reflection. We usually share a frame board first, then animated passages, then the full cut. The quote fixes rounds, deliverables and usage before production starts, so nothing is improvised in the week the booth ships.
After the aisle: distributors, sales calls and the website
Once the show closes, the same material keeps working. A 16:9 version runs on the website and in sales presentations, a square cut goes to LinkedIn, and a shorter edit travels to distributors abroad with on-screen text in their language, translated and approved by your team. Units can switch between metric and imperial wherever a market expects it.
Some limits are stated plainly. We do not generate a factory, a clean room or a customer’s instrument and present it as yours, and we recommend labelling the AI-generated scenes. If buyers need to see your real production line running, a short shoot by a local crew you hire is the honest complement, and we can cut that footage into the same film.
Fictional concept created with AI
In pictures
Catalog demonstration
See the production approach
English, adaptable to your language
Venue films
Welcoming guests? We film your venue too.
Restaurant, hotel, shop or property: from your photos, we make a hybrid film that makes people want to visit.
Plan the details
Can the film show our component inside a customer’s system?
Only as a clearly illustrative scene, never as a named customer’s product. If a partner agrees to appear, we work from photographs they supply and approve themselves.
Our parts are tiny. Will the detail survive?
Macro photographs taken on the bench, against a neutral background and from several angles, give us what we need. We enlarge only what those photographs resolve and never invent surface detail.
What about export-controlled products?
We use only what your compliance team clears for public release. If a part cannot be shown, the film carries the idea through light, graphics and the application instead.
Who owns the booth film?
Ownership and usage rights for the master and every version are set out in the quote before production begins.
Start with your images
Send us your bench photographs, the datasheet and the one sentence you want visitors at the booth to remember, and we will return a script and a visual direction.