Checking a generated ad before you upload it

Platforms state aspect ratios, pixel floors, file size ceilings, bitrate minimums and format lists. Generated output usually clears all of them comfortably, and the way to know is to look at the file rather than to assume. As of 2026-09-12.

Inclusion rule. Checks that can be made on the file itself. Judgement calls about the content are not listed. Order. Alphabetical by check.

1Two sides publish different specs

The platform publishes what it will accept: shapes, floors, ceilings, formats. The tool publishes what it produces: resolution tiers, and sometimes duration and shape. Between them sit the properties nobody publishes on either side, and that is where rejections come from.

This site keeps the two sources in separate columns and never mixes them in one cell, because a spec sheet that blends platform requirements with tool capabilities reads as though somebody has verified the match. Nobody has.

2The checks worth doing on the actual file

Open the delivered file and read its properties: duration to the frame, pixel dimensions, container format, file size, and bitrate. Five values, thirty seconds, and they settle most of what a platform asks.

Do it on the final delivered file, after any edit and export, not on what came out of the generator. The export is where duration drifts by a frame and where the container changes.

3Duration is where automated rejections concentrate

Hard-limited formats are unforgiving. A bumper specified at five to six seconds will be rejected at six and a half, and an edit that adds a few frames of black at the end is an easy way to get there without noticing.

Trim to the frame and check after export. This is the single most common avoidable rejection in short-format advertising and it has nothing to do with generation.

4Shape has a floor as well as a ratio

Platforms state minimum pixel dimensions alongside the ratio. Generated video clears those floors easily, since the lowest resolution tier any tool here publishes is above them, so the ratio is the part that needs attention and the floor is the part that does not.

Worth knowing the other way round too: the cheapest tier is acceptable to these platforms, so generating higher is a choice about the edit rather than a delivery requirement.

5Size and bitrate are generous and worth reading once

A few hundred megabytes and a low bitrate floor describe almost any short generated piece comfortably. They are still worth reading once per platform, because the number that catches people is not the ceiling but the minimum: an over-compressed export can fall under a bitrate floor and be rejected for being too small.

No tool in this register publishes the file size or bitrate of its output, so this is a check you do rather than one you look up.

6Text rendered inside the frame is a separate risk

Generated text is unreliable, and some placements have their own rules about text coverage. A piece whose message depends on words the model drew is a piece that may need regenerating for reasons unrelated to the platform.

Adding text in the edit rather than in the generation removes both problems at once, and costs nothing.

7Audio levels travel worse than picture

Platforms normalise loudness on playback, and a piece mastered much louder than the target simply gets turned down, taking its dynamic range with it. A piece mastered much quieter sits under everything around it.

Generated audio arrives at whatever level the model produced. Normalising to a sensible target in the edit is a thirty-second step that nobody thinks of as part of an AI workflow, and it is the difference between a piece that sounds finished and one that sounds like a draft.

8Check one file per format, not one per campaign

If a campaign ships the same piece in three shapes, each export is its own file with its own properties, and each can fail differently. Checking the vertical cut and assuming the square one is fine is how a single rejection becomes a scramble on launch day.

The check is fast enough to do per file. Make it part of the export routine rather than a separate task somebody remembers.

9Keep a delivery record

For each delivered file: the placement it was cut for, its measured duration and dimensions, the date, and which tool and tier produced the footage. When a platform changes a spec, that record tells you which pieces need re-cutting.

Without it, a spec change means re-checking every file by hand, which is the kind of work that arrives at the worst possible moment.

10From brief to placement

For ad work around “Delivery checklist”, SceneMixer's pages explain how its ad projects are produced:

A serialized vertical-video show (typically 60–120 seconds per episode, 9:16) where the cast, scenes, and footage are AI-generated.

SceneMixer, The AI Micro Drama Production Pipeline — “What is an AI micro drama?” (read 2026-10-13)

The Seedance 2.0 tiers render segments up to 15 seconds; use a Seedance 2.5 or Wan tier for 30-second takes.

SceneMixer, Seedance 2.0 Fast — “Does Fast render 30-second takes?” (read 2026-10-13)

11Where the sourced rows sit

Requirements belong to the platforms and capabilities belong to the tools; this site keeps them in separate columns and never mixes them in one cell.

• TikTok — states three accepted ratios with pixel floors, a size ceiling and a bitrate minimum
• Google Ads Help — states durations and skip behaviour per YouTube format

A craft note, not a spec. Nothing here is taken from a platform or a vendor, and nothing here should be quoted as a requirement. The sourced material is on published limits. Related: Where a series goes, How a series earns.