Video editor · Gen AI Creator · Lagos
I cut what was filmed and generate what wasn't — prompts, character locks, plates, whole scenes — then grade both halves until nobody can tell which is which.
Prompts & breakdowns
The exact prompt, the model order and the settings behind the videos I post. Free ones go up the same week the video does.
The whole pipeline
Most films need someone who can cut and someone who can create. Doing both in the same session is why nothing ends up looking bolted on.
Footage in, finished film out. Story, pacing, motion, colour and mix — the part that decides whether anyone reaches the end.
Shots that were never filmed — generated, then graded and grained until they sit inside real footage without announcing themselves.
Track record
Numbers from client work delivered between 2023 and today — the reel is the argument, this is the receipt.
What I do
Editing is the spine. Everything else — motion, colour, sound, generation — exists so the cut lands harder.
Model-native filmmaking, not stock prompting — character locks, shot continuity, and an edit plan before a single frame is generated.
Type that moves like it means it — titles, lower thirds, 2.5D parallax, product reveals, and graphics built to survive a vertical crop.
Episodic structure and delivery specs — assembling multi-cam days into episodes that hold, then packaging them to platform spec without a bounce-back.
Retention is the brief — hook shaped in the first eight seconds, pacing tuned against the graph, and no cut that doesn't pay for itself.
A grade with a point of view — film-stock emulation, matched multi-source footage, and scopes checked before anything leaves the bay.
Half the picture is what you hear — dialogue cleanup, designed effects, music editing to the cut, and a mix that survives phone speakers.
Selected work
A courtroom short built entirely from generated footage. Character lock, continuity across 140 shots, amber-and-teal grade.
Two shoot weeks, four cameras, one season. Assembly through delivery, packaged to platform spec with zero QC returns.
A city film cut to a single voice track. Sound design first, picture second — the edit follows the breath, not the beat.
Retention held at 61 % to the halfway mark. Three hook rebuilds, a re-timed second act, and 400 pieces of purpose-cut b-roll.
Logo build animated in code, not in a timeline. Rendered to frames, finished in After Effects, delivered in nine aspect ratios.
One system, twelve deliverables. Scripts, generated plates and edit templates built so every asset reads as the same campaign.
AI film & generative
Generated, then graded, grained and cut like footage. The model stack is listed under each one, because at this point the stack is half the craft.
AI short film · 01 Instagram Generated end to end, cut like live action. One locked cast, one grade, no set and no camera.
Veo · Kling · Nano Banana Pro
Resolve · After Effects
AI short film · 02 Instagram A whole world built from prompts. Armour, stone and weather held consistent long enough to cut a scene out of them.
Seedance 2.5 · Kling · Nano Banana Pro
Resolve
AI short film · 03 Instagram Two people, one table, a full scene. Dialogue, performance and coverage assembled shot by shot.
Veo · Seedance 2.5 · ElevenLabs
Premiere · Resolve
AI short film · 04 Instagram Number four is being built right now. It lands here and on Instagram the same day.
In production · 2026
More generative work lives on the AI page · @heizzai →
YouTube
Full videos, breakdowns, and the occasional look inside the timeline. Two are up, three are cutting.
How it runs
I watch everything before I cut anything. Footage audit, reference pull, and a one-page plan naming the film's job.
Day 1 · asyncStructure before polish. Story beats laid down long and ugly, so problems show up while they're still cheap to fix.
Day 2–3Pacing, rhythm, hook. First cut for review inside 48 hours on short-form, with a timecoded note track for feedback.
Day 3–5 · first reviewGraphics and AI shots enter last — once the cut is locked, so nothing expensive gets built for a scene that dies in review.
Day 5–7Two rounds of revisions included. Colour matched across sources, mix checked on monitors and on a phone speaker.
Day 7–8Masters, crops, captions, project files. Every aspect ratio you need, named to your convention, archived for 90 days.
Day 8 · handoverToolkit
Learn
Two courses in production and one community that's already running. Waitlists open first — the first cohort gets the first-cohort price.
From an idea to a finished AI short — the whole pipeline, including the parts that usually break.
Why people leave, and what to cut instead — built for creators editing their own long-form and short-form.
The room where the work gets figured out. Prompts, breakdowns and what's actually working this week.
About
I started in my bedroom with an old Asus Vivobook 14 that thermal-throttled every twenty minutes, a cracked version of DaVinci, and the drive to be better than what I was yesterday.
These days about half my work is conventional post — OF Creator originals, YouTube — and half is generative: building shots that were never filmed, and cutting them so nobody thinks about how they were made. I work in batches rather than one-off gigs, which keeps the quality where I want it.
In their words
“You always kill it! Amazing work Nigel!”
Next
Editing, AI film, or both in one build. Tell me what it has to do and when it ships, and I'll tell you within a day whether I'm the right person for it — and if I'm not, who is.
celticoriginboy@gmail.com