AI PROJECTS
by Andy Lambert
AI PROJECTS
by Andy Lambert
Andy Lambert is a commercials director with 25 years experience directing for brands including Nike, Guinness, Coca-Cola, Honda and Mastercard, now working as an AI director alongside his live-action filmmaking. He's carried the playful, comedic voice of his work into AI intact: the same directorial instinct for character, storytelling and ideas, in a new form of production.
Says Andy: "After directing for many years, it's unexpected to suddenly feel like you're at the start of something new. This is probably what the birth of the talkies felt like – a genuine turning point in how films get made – and it's an exciting time to be working at the front of it. AI adds the ability to build worlds, shots and characters that were previously impossible or unaffordable – but the essential craft, the comic timing and the aesthetic choices still have to be human.
"One of the biggest hesitations clients have about AI is the fear it will look artificial. The latest models are making that far less of a concern, and hybrid techniques like grey-box shoots – an approach I'm using on the ad I am making right now – can achieve even more verisimilitude. Directorial control and proper finishing push the photoreal, premium look further still – and the eye for when something reads as true, and when it doesn't, comes from years of live-action directing.
"The technology is moving fast. If you'd like to explore what's possible with it, please get in touch."
Here's an interview I did with LBB (Little Black Book) about directing, AI and comedy…
And here's an article I wrote about AI for shots:
Andy Lambert is a commercials director with 25 years experience directing for brands including Nike, Guinness, Coca-Cola, Honda and Mastercard, now working as an AI director alongside his live-action filmmaking. He's carried the playful, comedic voice of his work into AI intact: the same directorial instinct for character, storytelling and ideas, in a new form of production.
Says Andy: "After directing for many years, it's unexpected to suddenly feel like you're at the start of something new. This is probably what the birth of the talkies felt like – a genuine turning point in how films get made – and it's an exciting time to be working at the front of it. AI adds the ability to build worlds, shots and characters that were previously impossible or unaffordable – but the essential craft, the comic timing and the aesthetic choices still have to be human.
"One of the biggest hesitations clients have about AI is the fear it will look artificial. The latest models are making that far less of a concern, and hybrid techniques like grey-box shoots – an approach I'm using on the ad I am making right now – can achieve even more verisimilitude. Directorial control and proper finishing push the photoreal, premium look further still – and the eye for when something reads as true, and when it doesn't, comes from years of live-action directing.
"The technology is moving fast. If you'd like to explore what's possible with it, please get in touch."
Here's an interview I did with LBB (Little Black Book) about directing, AI and comedy…
And here's an article I wrote about AI for shots:
Latest AI Work: "APOCALYPSE LOST" Trailer
APOCALYPSE LOST - Trailer
(1 mins 40 secs)
Here is the TRAILER for my brand new film "Apocalypse Lost", a 21-mins ironic mockumentary set in 2048 about three people who spent their lives preparing for a robot apocalypse, only to find themselves strangely disappointed when it never happens. As humans and robots settle into a future that stubbornly refuses to become dystopian, the question becomes.. what to do with the scythe?
• An AI film made using Seedance 2.5/2.0, Kling 3.0, GPT-Image 2, NanoBanana 2. Music created in Suno & Stable Audio. VO Narration created in ElevenLabs.
• designing robot characters creature and maintaining consistency across the film
• ageing cast by twenty years
• producing convincingly naturalistic dialogue scenes
• authentic documentary feel
• director / writer / AI artist / editor / sound designer / colourist / VFX compositor
• a Reversa Pictures production
Let me know if you'd like to see the whole film (only available on an private link for now).
AI COMMERCIALS
A selection of my AI advertising work. Whether an idea calls for comedy, cinematic storytelling or pure visual spectacle, the approach is the same as in my live-action work: the idea leads, and the craft – timing, performance, tone – stays human.
Epic montage-based ad around a triangular theme for a revolutionary phone. Made for the ElevenCreative "Catchiest Ad in the World" competition.
• Writer, director, AI Artist and editor of the ad
• Music created in ElevenLabs using multiple elements and stems.
• Fully AI-generated spec commercial made mostly using Seedance 2.5 and Klimg 4.0 with prepared still-image references made using GPT Image 2.5
A vignette based lifestyle ad made for UK agency Dog Cat & Mouse for the B-Corp certified UK wellness brand Absolute Collagen
• Co-director & AI Artist of the ad
• Fully AI-generated spec commercial made mostly using Seedance 2.5 with prepared still-image references made using GPT Image 2 and 2.5
• Photorealistic, naturalistic scenes
• All characters based on real people
• I was also the editor of the ad
• Music "Rise-Up" by Jessica Sweetman
A high-energy tennis commercial where explosive power meets playful humour.
• Concept, director, AI Artist and editor of the ad
• Maintaining character consistency across the film
• Controlling wardrobe, locations and tennis racket strings across ad
• Combining a dynamic sports aesthetic with playful comedic touches
• Creating pyrotechnic effects with a combination of AI and traditional VFX
Vignette-based cinematic comedy ad about the importance of staying awake for life's more exciting moments.
• Writer, director, AI Artist and editor of the ad
• Full-AI ad built through carefully prepared image references
• Maintaining character continuity within each story vignette
• Controlling wardrobe, locations and overall cinematic look
• Designing, animating and compositing the Loch Ness Monster entirely within AI
• Directing comedic timing in a similar way to a live-action shoot
A character-driven, Pixar-ish commercial about a lonely misshapen carrot facing rejection wherever it goes
• Writer, director, AI Artist and editor of the ad
• AI-generated spec commercial constructed shot-by-shot with controlled visual references
• Hybrid workflow incorporating photographs of real locations (eg. Borough Market)
• Maintaining character continuity and animation style for the carrot across multiple scenes
• Directing the story as a character-driven narrative with an empathetic arc and redemptive ending
AI SOCIAL FIRST
AI lends itself naturally to social-first advertising, where striking visuals and fast production are key.
Vertical social ad about an intimate moment.. interrupted
• AI-directed spec ad extending the concept and tone of the 60-second Neutonic commercial
• Demonstrating how AI can scale ideas across a wider campaign
• Use of copyright-free AI-generated music from Suno
• Creating a convincing nightclub atmosphere and dance-floor energy
Commissioned social ad from Wizz Air promoting tie-in with AS Roma football team
• Hybrid-AI workflow incorporating licensed archive footage of Rome
• Maintaining accurate aircraft details while generating new AI environments
• Creating the sense of a moving aerial camera flying alongside the aircraft
AI SATIRICAL FILMS
Alongside commercial work, I make short AI films exploring narrative and comedic possibilities in the medium. I believe AI can be particularly effective for satire and sketch comedy and this is an area I would like to explore further.
Comedic satirical horror movie trailer about a mythical creature who is compelled to "take oil".
• Writer, director, AI Artist and editor of the ad
• Fully AI-generated short film directed shot-by-shot using prepared still-image references, using NanoBanana2 and GPT-Image2, animated in Kling 3.0 and Seedance 2.0
• designing The Oil Taker creature and maintaining consistency across the film, including oil footprints and smears
• producing convincingly naturalistic dialogue scenes
• authentic Hollywood genre feel with CinemaScope look
• Music & VO all achieved in AI (Suno & ElevenLabs)
• proof-of-concept for using AI as a new form of editorial cartoon
as featured in SHOTS: "Andy Lambert's Crude Awakening"
https://shots.net/news/view/andy-lamberts-crude-awakening
Satirical film about Martian immigration enforcement
• Fully AI-generated satirical film / comedy sketch written and directed in response to current political themes
• Creating a cinematic sci-fi tone with unexpected comedic turns
• Designing ICE-inspired Martian characters and interrogation environments
• Early experiment with AI using Veo 3
AI PRODUCTION NOTES
AI video production can take several forms depending on the project — from fully AI-generated films to hybrid productions combining live-action performance with AI environments. With a background directing live-action commercials and VFX-heavy shoots, I'm very comfortable integrating actor performance with AI worlds when required.
Gen-AI films are directed shot-by-shot using controlled visual references, so that character performance, cinematography and storytelling approach the realism, continuity and intent of a live-action production.
Timelines are typically much shorter than traditional shoots.
As with traditional production, commercial AI projects are developed with careful attention to usage rights and likeness permissions.
AI video production can take several forms depending on the project — from fully AI-generated films to hybrid productions combining live-action performance with AI environments. With a background directing live-action commercials and VFX-heavy shoots, I'm very comfortable integrating actor performance with AI worlds when required.
Gen-AI films are directed shot-by-shot using controlled visual references, so that character performance, cinematography and storytelling approach the realism, continuity and intent of a live-action production.
Timelines are typically much shorter than traditional shoots.
As with traditional production, commercial AI projects are developed with careful attention to usage rights and likeness permissions.