AI films · Rex Russell · London
I'm a director who makes funny AI films for brands, from the idea to the final cut. If an idea isn't meant to look real, AI is often the best way to make it.
A six-foot stork selling margarine. Two co-founders as Ghostbusters. If nobody's meant to believe it, building it in AI beats building it in a workshop.
A cast, a location and a recurring character for every episode, without booking a single actor. Dry subjects, made watchable.
LinkedIn and Instagram films that stop the scroll, turned round in days rather than weeks, without booking a shoot.
See the idea moving before anyone commits to a shoot. Useful for winning a pitch, or for getting a nervous stakeholder to say yes.
Each one starts with the brief. Each one says who it was for.
Get the talking cat poster to do it.
Shot in a day with a real cast. The AI-generated scenes, from 0:12 to 0:22, are matched to the live action. It aired on Channel 4.
A Ghostbusters parody, with both founders generated by AI.
Made with their permission. The hard part was keeping two real faces recognisable in every shot. Turned round in three days.
Film the real device. Build the world around it.
I shot the actual device on our yellow office table, operated by my brown corduroy arm. The world around it was built in AI, with graphics doing the explaining.
Make every lesson a short film about the person it happened to.
Six of the course's seven modules are built around AI case-study films, each with its own character and location, all held to one brand world. The course is now sold as a Klyk product.
A margarine ad starring a life-sized stork puppet, made without building a puppet.
Concept · AI · Edit
A spec ad for Synthesia, the AI avatar company. Not commissioned, I just made it. Making your own digital twin, taken very literally and very surreally.
Klyk partnered with Vodafone, so the founder got a Premier League transfer announcement: new shirt, packed stadium, the full transfer-day treatment. Built from one real photo and AI.
The founder's highest-ever organic engagement, 200% above baseline.
Everything here was made in-house at Klyk or as my own spec work, and it's labelled that way. Client work goes here as it happens.
Every job is quoted at a fixed price before we start.
For LinkedIn and Instagram
For the post that needs to stop the scroll.
For paid social or a launch
For ideas that aren't meant to look real.
For agencies, production companies and in-house teams
An extra pair of hands who can also have the idea.
Need real people with AI around them? I shoot live action too, so ask me about that as well.
In plain English.
AI throws away a lot of takes. Those are my cost. You only see shots that work.
No credits, subscriptions or surprise top-ups.
If the first cut doesn't match the script and storyboard you approved, I redo it at no cost. If you want a different idea after that, that's a new brief, and I'll quote before starting.
Your own channels, worldwide, with no end date. Every tool I use is on a paid commercial licence.
Not if it's done properly. The AI films that work don't pretend to be real. If people can tell it's AI, they're on board anyway, because they're watching for the idea and how well it's made. The ones that fail usually had a weak idea, or tried to pass as real and didn't quite. I start with the idea and check every frame before you see it.
My AI work so far was made in-house at Klyk, where I ran video for three years, or as my own spec work. It's labelled that way above.
Yes, with their written consent, as I did for Klyk's founders in Techbusters. I won't recreate anyone without permission, and I won't clone a voice unless the person has agreed in writing.
You can use the film on your own channels, worldwide, for as long as you like. UK copyright law on fully AI-generated material isn't settled yet, and I'll explain what that means for your project before we start. UK ad rules don't require a label on every AI ad, but you mustn't mislead anyone, and platforms like YouTube, Meta and TikTok label AI content themselves. I'll tell you what applies to yours.
For some jobs you should. What a tool won't do is have the idea, write it, or bring a cinematic eye for consistency and quality control. Tools also charge you for every failed attempt. I don't.
Whatever suits the shot. Right now that's Midjourney for stills; Higgsfield, Veo, Kling and Seedance to animate; ElevenLabs for voice; and sync.so for lip-sync. Then it's cut and finished in DaVinci Resolve and After Effects. The tools change every few months. The job doesn't.
I'm Rex. I've directed and edited for over ten years: a Channel 4 ad, ten music videos for David Gray, and a short film, Megalomania, that won ten awards across 22 festivals.
For the last three years I ran video at Klyk, a B2B tech company, end to end. That's where AI became part of the job, mostly because the funniest ideas were the ones nobody could afford to film.
See all my work, including live action, customer stories and music videos →
Send me the brief, however dry. I'll come back with a rough approach and a price.