London filmmaker working across real and AI-generated video

I'm Nigel Camp, a London-based filmmaker, the author of The Video Effect, and the founder of DevilBoy Productions, the production company I set up in 2011. I've spent fifteen years making commissioned films for organisations including Cambridge University Press, Royal Holloway, Freshworks, VSO and RE/MAX, and more than a decade teaching filmmaking, including at General Assembly and Cambridge University Press.

For most of that time I made films the traditional way, with real people, real lenses and real light. I still do, and I still think that approach holds up better than most of what is being generated right now. What has changed is that I no longer treat human-made as the whole position. The part that has to stay human is the thinking. The story, the script and the judgement about what an audience will believe are not things I hand to a model. Once that is in place, the tools can be a full crew, a phone, or a system that generates every frame. I now work across that whole range, including work that is entirely AI-generated, and I publish the standard I hold it to.

If you want to see how that thinking works in practice, start with how people watch video today, read how I use AI and what I disclose, or go to the writing on AI, consent and trust on the blog.

Three ways in

Read the work. The blog is where the current thinking lives. Most of it is about AI in production, consent and likeness, disclosure, and what changes for brands when the image becomes cheap to make. The Video Effect, first published in 2014, covers the underlying decisions in longer form.

Work with me directly. I take on strategy and advisory work across the whole range of video, from fully crewed traditional production to fully AI-generated work. That means shaping a brief, developing a script or treatment, deciding what should be shot and what should be generated, reviewing a creative approach before it goes to a production company, or having a straight conversation about whether AI belongs in the piece at all. Sometimes the right answer is a crew and real light, and I will say so. What makes that useful is the combination. I have shot the crewed version for fifteen years, I make the generated version now, and I publish the standard I hold both to. I also run hands-on workshops for in-house teams, and AI tools used honestly are part of what gets taught.

Commission a production. Crews, kit and delivery run through DevilBoy Productions. That is the company behind the work, with the team and infrastructure for everything from a one-camera interview to a multi-day shoot.

Where I stand

AI does not remove the need for someone to be accountable for what ends up on screen. It makes that person more important. If a piece uses a real person's likeness, they should know and agree in writing. If it is generated, the audience should not be misled about that. If it is a story worth telling, a human wrote it. That is the line I work to, whichever tools are in play, and it is the same line I bring to every brief, workshop and article on this site.