Cut to
the point.
I edit ads, reels, talking heads and product films, and I produce AI commercials that hold up in a real brand’s feed: one consistent cast, a pack you can read, clean captions and a proper mix. Every cut delivered in 16:9, 9:16, 4:5 and 1:1.
Most of these films are AI-generated. The people, sets and product shots were generated with AI video and image models, then I directed, selected, edited, graded and mixed them. Every video is marked: AI-generated, real footage or animation.
On every video
AI-generatedReal footage3D animation2D animationTC 00:00:00:00Edit bay · 10 clips · 04:23
Real work, one timeline.
AI commercials, client ads, a talking-head reel and a product film, laid out the way I work. It plays on its own; click any clip to jump in, or turn the sound on.
TC 00:03:24:00AI-generated ads · Vitamin Energy
One AI presenter. A whole campaign.
AI-generated UGC-style ads for Vitamin Energy shots: the presenter isn’t a real person, and she’s the same in every spot, from a board call to a ski lift, speaking the script, cut to 12–15 seconds with word-by-word captions and the bottle’s label readable in every shot.
Same face, every shot · AI character demo
Character consistency
The face doesn’t drift.
One AI character carried through a whole beauty spot: close-ups with the compact, a lipstick macro, wides on set and on the sofa. Same features, hair and styling in every shot, which is the hard part of AI casting.
Lines written for the first second and the caption.
A presenter locked once, reused in every spot.
Veo, Kling or Seedance, picked per shot.
Hands, faces and labels checked frame by frame.
Pace, captions, sound and the packshot.
9:16, 4:5, 1:1 and 16:9, ready to post.
TC 00:04:23:00AI-generated commercials · beverage, food, fashion, luxury
Commercial polish. Generated, then cut.
Spots for EFES, Hellmann’s and Reebok, a CGI watch spec and a long-form brand film. Nothing here was filmed: every shot is AI-generated, then cut, graded and mixed by hand so it plays like a shoot.
TC 00:06:40:00Product film · NorDiVent for Amcor
33 clips in the bin. 64 seconds on screen.
A product film for a packaging line, built from AI generations and finished by hand in Premiere Pro and After Effects.
The brief
Six shots. One rule.
Filling the bag, a close-up of the venting layer, a globe of supply routes, the bag through all four seasons, then the title. The brief also warned that AI will spoil the text on the bag
, so the artwork had to stay readable through every effect.
- Bin: 33 source clips, generated and sorted by shot
- Assembly: cut to the supplied voiceover in Premiere Pro
- Finish: titles, icons and the inset graphic in After Effects
- Master: 1:04 in full HD with voice and music
TC 00:07:44:00Editing
Cut for every feed.
Talking heads, a 3D product explainer, marketplace films, homepage loops, weekly social ads and a book trailer: each one cut to where it plays and how long people watch there.
Talking head · short-form · 9:16
Short-form editing
Every line gets a beat.
A talking-head reel cut for Reels and Shorts: jump cuts that keep the energy up, word-by-word kinetic captions, 3D numbers and icons landing on the beat, and soft gradient cards between points.
3D product explainer · 1:38
Product explainer
A whole industry, as a model.
An explainer for an enterprise project-controls platform: an isometric world of oil fields, terminals and transport lines, the dashboard rising out of it, and the stakeholders it connects, timed to the voiceover.
Amazon listing films · one per flavour · 16:9 · 0:10
Homepage loop · weekly social ads
Book trailer · 1 minute
Book trailer
A savanna, one unicorn and a cover reveal.
A hand-drawn trailer for a business book: line-art animals drawn on, a flamingo in an armchair, and the cover landing on the last beat. Timing, drawing order and the end card all built for one minute.
TC 00:11:02:00For your team
Three tracks, one editor.
What I take off a content team’s plate from the first week, on footage you shoot or footage I generate.
Editing
- Story and pacing from raw footage or interviews
- Hooks that land in the first second
- Word-by-word captions in the brand’s type
- Colour and audio clean-up
- YouTube long-form, Shorts and Reels cut-downs
AI video
- The right model for each shot: Veo, Kling, Seedance
- One consistent character across a whole campaign
- Voice, lip-sync, music and sound effects (ElevenLabs)
- Products kept accurate: labels checked, not redrawn
- Upscaling and clean-up for broadcast-sharp exports
Finish & deliver
- Titles and motion graphics in After Effects
- Sound design and a mix levelled for social
- 16:9, 9:16, 4:5 and 1:1 versions, A/B cuts
- Organised project files your team can reopen
- Fast notes rounds on review links
TC 00:12:20:00How an edit moves
From brief to export.
The same steps whether the footage comes from your shoot or from a generator.
Goal, channel, length, assets.
Best takes pulled and logged.
Story and timing in 1–2 days.
Your comments, my changes.
Grade, captions, mix.
Every ratio, plus project files.
Hiring questions
Before we talk.
Are you open to full-time roles?
Yes. I’m available now for remote full-time or contract work as a video editor or AI video producer. I’m based in Baku (GMT+4) and plan my day around the team’s hours.
Will you do a test edit?
Yes. A short test on your own footage or brief is the quickest way to see if the fit is right.
Which tools do you edit in?
Premiere Pro and After Effects for most work, DaVinci Resolve for grading, CapCut for fast social versions. For AI video I work in Higgsfield (Veo 3.1, Kling 3.0, Seedance 2.5, Nano Banana Pro, GPT Image) and ElevenLabs for voice, music and sound effects.
How do you keep AI footage on brand?
One locked look and one locked character per campaign, the real product as the reference for every product shot, and every take checked for hands, faces and labels before it reaches the timeline.
Can you work inside our templates and guidelines?
Yes. I can cut to your caption styles, lower thirds, fonts and export presets, or set those up as reusable templates if you don’t have them yet.