CampaignReel

Ad placement specs against what generators output

The four places a generated series can be published

A finished series does not go one place. Four routes exist, and each imposes its own format ceiling, its own onboarding and its own rules about declaring that the picture was generated. As of 2026-09-12.

What each publishing route imposes before the first episodeFour routes exist for a finished series. Each imposes its own format ceiling, its own onboarding, and its own rules about declaring that the picture was generated. Cadence follows from the route rather than from the edit, which is why the route has to be chosen before the series is cut.Format ceilingSet by the routeDecided firstChanges the shot listOnboardingSet by the routeDecided firstChanges the scheduleDisclosureSet by the routeDecided firstChanges the deliverableOne finished seriesCadence follows from all three, not from the edit
Fig. 1 Three of these settle before anything is published. Choosing the route after the edit means discovering the ceiling with the episodes already made.
The four routes, and what each one asks of a finished series. Recorded 2026-09-12.
RouteFormat ceilingHow a series gets inDisclosure expected
Licensing to a distributorSet by the buyerA negotiated dealSet by the contract
Micro-drama appsAbout a minute per episodeSubmission or a publishing partnerPlatform policy
TikTokSet by the placementOpen postingA generated-content label
YouTube ShortsUp to three minutesOpen postingA disclosure for realistic content

Inclusion rule. Routes a finished vertical series can take to an audience. Routes requiring a broadcast licence are outside what this register covers. Order. Alphabetical by route.

1Cadence is decided by the route, not by the edit

Micro-drama apps reward a daily or near-daily release because the unlock happens between episodes. Open platforms reward whatever keeps a session going. A series cut for one and published on the other performs worse than the same material cut correctly.

That decision belongs at the shot-list stage: episode length and hook placement follow from it, and neither is cheap to change after generation.

The ceilings differ as well. A route that caps an episode near a minute rules out the three-minute cut another route allows, so a series built to one ceiling cannot simply be re-uploaded to the other without re-editing every episode.

2Open posting is not the same as open economics

Two of these routes take anything. That lowers the barrier to publishing and not the barrier to earning, because revenue on those platforms is a share of something rather than a price per unlock.

A series with a paywall and a series with an advertising tail are built differently, and the route decides which one is being built.

Nothing prevents a production from using more than one, and many do: an open platform carries the trailer and the first episode while the paid route carries the rest. That works because the two cuts are made deliberately, not because one file was posted twice.

3Disclosure differs by route and by audience

Platforms ask for a label on realistic generated content, and the wording and placement differ between them. Where an audience sits in a market with its own published rules, a platform label may not be the whole of what applies.

What each generator states about marking its own output is a separate question, recorded on the spec register rather than here.

Placement differs too. One route puts the label in the description, another shows it on the player, and a third leaves it to whatever the buyer negotiated. A series published on two routes carries two different-looking declarations of the same fact.

4What to settle before the first episode

Which route, what the episode length is, where the hooks fall, and who publishes. All four bind the shot list, and all four are cheap to decide and expensive to revisit.

Everything else in a production can be changed later at some cost. These four cannot, because each of them reaches back into how the shots were written.

5Making the ad itself

For ad work around “Where a series goes”, SceneMixer's pages explain how its ad projects are produced:

A micro drama (vertical drama) is a serialized show of 60–120 second episodes shot for phones.

SceneMixer, The AI Micro Drama Production Pipeline (read 2026-10-13)

An AI short drama is a serialized show of 60–120 second vertical episodes whose cast, sets and footage are generated by AI. Making one takes six steps: analyze the script into episodes, lock a consistent cast with reference art, localize for your market, write and edit storyboards, generate each 4–15 second shot, then composite and publish.

SceneMixer, How to Make an AI Short Drama, Step by Step (read 2026-10-13)

6Where 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.

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: How a series earns, Reading a duration cell.