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Yes: companies can digitally add brand imagery to already-filmed scenes, potentially giving a finished show or film new product placements without a reshoot. Mirriad was the startup at the center of the headline, but the most detailed account of its work dates to 2021; later announcements and vendor descriptions show related approaches, not proof that any particular library is available for insertion today.
What virtual product placement changes
Traditional product placement is arranged during filming: a real product or logo is placed in the set or used by performers. Virtual product placement instead adds or replaces brand imagery during post-production, by compositing it into finished footage.
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In a 2021 BBC report, one example from a Chinese program showed a scene first without an advert in its upper-left corner, then with a Coca-Cola advertisement digitally added. The report said placements might be switched weeks, months or years later. That is the concept, not a guarantee that every shot can be changed cheaply or made imperceptible.
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Mirriad CEO Stephan Beringer described the company’s method as reading image depth, motion and fabric to place new imagery after filming. That is his account of the technology, not an independently tested performance finding. Futurism’s April 2021 coverage also reported that rival Ryff said placements could be tailored to individual viewers; this, too, was a company claim rather than evidence of a deployed capability at scale.
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How an insertion might work—and where it can fail
The post-production team needs to identify a suitable area in a scene, create or select brand imagery, and composite it so it follows the shot’s perspective and movement. If an object, person or fabric passes in front of the placement, the image may also need to be layered so the scene still appears to have natural depth. The BBC account described Mirriad’s claimed ability to account for depth, motion and fabric; it does not establish that difficult shots can always be handled invisibly.
- Scene fit: A logo on a plausible billboard or screen may belong in a scene; a modern product in a period drama may not.
- Visual fit: The inserted image has to suit the camera angle, lighting, movement and objects around it. A conspicuous mismatch can make the edit feel artificial.
- Placement scope: A static insertion and a placement customized for different viewers are distinct approaches. The latter requires more than simply changing an image in a finished master, and the cited Ryff claim does not establish how broadly it was used.
What companies and platforms have described
Mirriad is the historically central company in the original story. Later reporting and vendor pages describe neighboring efforts, but an announcement, demonstration or service description is not proof that a platform currently offers the capability to every advertiser or that a particular title is cleared for use.
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| Company or service | What the cited source says | What that does not establish |
|---|---|---|
| Mirriad | The BBC’s 2021 report described its post-production placements and showed a digitally added Coca-Cola advert in a Chinese TV scene. | Present-day availability, the titles currently eligible, or independently verified performance. |
| Amazon and Peacock | TechCrunch reported in May 2022 that Amazon’s virtual product placement tool was in beta and Peacock had announced “In-Scene” ads. | Whether either dated announcement reflects current availability or the terms for a particular show. |
| ReelBlend | Its advertiser page describes AI- and computer-vision-assisted post-production insertions in existing footage, including archive films, and shows a Rocket Eyewear example. | Independent verification of scale, inventory, outcomes or current access. |
| Rembrand | A company post describes a generative-AI post-production placement service and refers to an investment announcement dated June 2023. | Independent verification of the service’s reach or commercial results. |
TechCrunch also reported Amazon’s claimed results for a demonstrated M&M’s placement. That is a company-reported result for one demonstration, not evidence that all virtual placements deliver similar outcomes. Henrik Bastin, chief executive of Fabel Entertainment and executive producer of Bosch: Legacy, told TechCrunch the method could let a production review a final cut for natural placement opportunities instead of planning traditional placements during filming. That is a production-side view, not proof of audience response.
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Having the technical ability to change a frame does not grant the right to alter and redistribute a film or program. The relevant permissions can depend on who controls the footage, the territories and distribution channels involved, contracts with talent and other partners, existing brand agreements, and local rules. The Drum’s 2022 reporting on Accenture Song’s work described rights, regulation, business barriers and stakeholder balance as obstacles to scaling dynamic placements in TV.
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Amazon Studios’ published production guidance offers one specific example of governance, not a universal rule. For covered Amazon/MGM productions and placements, it calls for approval from creative, production, legal and promotions/partnerships stakeholders, legal review and placement tracking. It also says a placement cannot take creative control from the studio and restricts endorsement obligations.
The BBC’s 2021 report captured the artistic concern as well as the legal one. Film critic Anne Billson questioned the legal basis for digitally reworking a copyrighted film and raised the possibility of advertisers needing to buy a film before altering it. More broadly, a technically convincing placement can still change the intended look or meaning of a scene. An out-of-period brand, an intrusive logo or a placement that implies an endorsement can undermine trust in the work.
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Does this mean old movies will be full of new ads?
Not automatically. The technology creates a possible way to make new advertising inventory from existing footage, but each placement still depends on a commercially suitable scene, rights clearance, approval and a brand that fits. A media owner may also decide that preserving the original version matters more than monetizing a new edit.
The scale of the business should not be inferred from the technology alone. The BBC cited PQ Media’s estimate that global product placement across films, television shows and music videos was worth $20.6 billion in 2019, and reported 15% growth in value that year. Those are historical figures for the broader product-placement category, not current market size, growth, or revenue attributable to virtual insertion.
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What to look for in a real deployment
- Ask who authorized the edit: A vendor’s ability to composite an image is separate from a rights holder’s permission to use that version.
- Check what is being claimed: A demo, dated beta announcement, vendor case example and independently verified campaign result are different levels of evidence.
- Consider the version and audience: If placements vary by territory, time or viewer, ask how the versions are approved and whether the viewer is told about the advertising.
- Judge the scene, not just the rendering: The brand should suit the story’s period and tone and should not mislead viewers about a performer’s or production’s endorsement.
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