Yes: CGI and other post-production tools can add a brand image to footage that has already been filmed, potentially turning old TV and movie scenes into new advertising space. The idea is called virtual product placement. UK company Mirriad was an early example in a 2021 report, but that historical coverage does not establish what services or platforms are available today.
How virtual product placement works
Traditional product placement is planned during production: a real product, logo or sign is put on set and filmed as part of the scene. Virtual placement works afterward. A company digitally composites branded imagery into the finished footage, so there is no need to reshoot the scene simply to add that image.
The BBC illustrated the approach in 2021 with two stills from a Chinese program: one showed an empty area in the upper-left of the image; the other showed a Coca-Cola advertisement inserted there. The report said placements could be changed weeks, months or years later, making it possible in principle for the same scene to carry a different brand over time. That example demonstrates the concept, not a guarantee that every shot can be altered invisibly, affordably or without affecting the scene. (BBC News, 18 April 2021)
What the technology can—and cannot—do
Reading the scene
Mirriad CEO Stephan Beringer described the system as reading depth, motion and fabric so inserted imagery could be fitted to the shot. He said the goal was for the addition to be difficult for the human eye to notice. That is the company executive’s description of the technology, not an independent performance test. (BBC News, 18 April 2021)
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Coverage by Futurism also described Mirriad’s ability to add products or logos without reshooting and reported that rival Ryff claimed it could tailor placements to individual viewers. Individualized targeting is a distinct proposition from placing one fixed image in a finished scene; the report attributes it to Ryff and does not establish its present availability or scale. (Futurism, 20 April 2021)
Changing an image is not the same as changing the story
A placement has to work with the shot’s perspective, lighting, movement and visual texture. It also has to make sense in the story: a modern brand in a period drama, or a prominent logo in a quiet documentary scene, may be technically possible but feel wrong. The Drum reported that Accenture Song’s work encountered scene-coherence concerns alongside legal, business and country-specific regulatory barriers to scaling dynamic TV placement. (The Drum, 17 May 2022)
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Why advertisers and rights holders are interested
For an advertiser, virtual placement offers a way to appear inside a program rather than interrupt it with a conventional ad break. For a rights holder, it could create new inventory from an existing library of films and shows. A library title might also be licensed in different territories or at different times with different placements, if the rights and distribution arrangements permit it.
The scale of the opportunity should not be confused with a current market estimate. The BBC reported that PQ Media valued global product placement across films, TV shows and music videos at $20.6 billion in 2019, with the category’s value up 15% that year. Those are historical figures, not a current market size or growth rate. (BBC News, 18 April 2021)
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Production-side enthusiasm is not evidence of audience response or campaign performance. In 2022, Henrik Bastin, chief executive of Fabel Entertainment and executive producer of Bosch: Legacy, called virtual placement a “game-changer” because producers could consider brands after a final cut rather than accommodate them during filming. That is a producer’s view of workflow, not proof that audiences welcome placements or that they generate particular sales results. (TechCrunch, 17 May 2022)
Who gets to approve a retroactive placement?
The ability to edit an image does not grant the right to edit or distribute the underlying work. A placement can depend on who controls the footage, which territories and distribution rights apply, whether existing contracts or talent obligations constrain advertising, and who has approval over creative changes. Local advertising rules may also matter. The BBC reported questions about copyright and artistic integrity; The Drum described rights and stakeholder balance as practical barriers in TV. (BBC News, 18 April 2021; The Drum, 17 May 2022)
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Amazon Studios’ production guidance offers a specific example of how approvals can work for covered Amazon/MGM productions and placements: it calls for advance approval from creative, production, legal and promotions or partnerships stakeholders, legal review, and placement documentation in a tracker. It also says a placement cannot take creative control away from the studio and limits endorsement obligations. These are requirements for the productions covered by that guidance, not universal rules for every film or platform. (Amazon Studios, Production guidance)
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Can a placement change the way a classic film is experienced?
Yes. The same edit that creates new advertising space can change the visual character of a work. Film critic Anne Billson, quoted by the BBC, questioned the legal basis for digitally reworking copyrighted films and whether advertisers would need to buy a film before altering it. Her concern points to two separate issues: permission to modify the footage and whether the change respects the original work.
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An insertion can also be distracting even when it is technically convincing. A brand may be out of period, clash with a character or location, or draw attention away from a scene. Documentary footage raises a particular editorial concern: adding a commercial image to a historical or factual scene could affect how viewers interpret what was actually present when it was filmed. Rights-holder consent alone does not resolve whether a change is appropriate for a work’s meaning or audience.
What has been announced, and what is established now?
The market has included more than one effort, but dated announcements and vendor descriptions should not be treated as proof of broad present-day deployment. TechCrunch reported in May 2022 that Amazon’s virtual product placement tool was in beta and that Peacock had announced “In-Scene” ads, both involving post-production digital insertion. TechCrunch also reported results Amazon attributed to an M&M’s placement demonstration; that single reported example is not independent evidence of typical campaign outcomes. (TechCrunch, 17 May 2022)
ReelBlend describes a service using AI and computer vision to place imagery in existing footage, including archive films, and presents a Rocket Eyewear example. Rembrand describes a generative-AI placement service; its post concerns an investment announcement dated June 2023 and was published in December 2024. These are vendor accounts, not independent confirmation of inventory, reach, results or current platform availability. (ReelBlend, For Advertisers; Rembrand, company post)
The practical business model is a service involving advertisers, content owners and rights holders—not a consumer product that viewers can buy. Mirriad was the central company in the 2021 coverage; ReelBlend and Rembrand are later examples of related service providers. Whether any provider can place an ad in a particular title depends on rights, approvals, technical fit and the relevant distribution arrangements.
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