About
About Nigel Camp

I'm Nigel Camp, a filmmaker based in London. I set up my production company, DevilBoy Productions, in 2011, and I wrote a book called The Video Effect. Most weeks I'm either filming something or teaching someone else how to.
What I do
I film. Through DevilBoy Productions I make branded films, documentaries and event coverage for brands, charities and editorial clients, on shoots across the UK and on location in Africa, Europe, Mexico and the Caribbean. Some jobs need a full crew and several cameras; others are just me and a clear brief. I've also started directing films with AI tools, and my first AI short, The Wall, was Highly Commended at Big Screen Hack London 2026 (see my film work).
I teach. I've taught digital film for more than ten years. At General Assembly in London, where I taught for close to ten years, my classes included Creating Video Content on a Budget, Mobile Video: Produce Content Like a Pro and a one-day Video Production Bootcamp (archived instructor page), and for Cambridge University Press I ran two-day workshops with the original presenter team of the Learn English with Cambridge YouTube channel, which went on to reach 175,000 subscribers (checked October 2026). These days it's mostly my own smartphone video workshops, for creators and in-house teams.
I write. I started this site in early 2013 because clients kept asking me the same questions. The best of those answers turned into a book the following year, published by Rethink Press. About the book.
How I got here
I grew up in the Caribbean, writing songs and picking up a camera whenever I could get my hands on one. That mix of music and pictures still shapes how I work, in the timing, the light and the small details that make something feel true.
I didn't come to film the usual way. Before going full-time I spent more than ten years working in the City of London, which taught me how organisations brief, decide and deliver when the deadline is tight. I know what it's like on both sides of a commission, and it's why my workshops are built around the videos people actually need to make for work.
What I believe about video
A video works when it gets its message across to the people it's made for. View counts are only part of the story. The one person who watches might be the one who buys, so I don't get hung up on a low number as long as the right people are seeing it, meaning the decision makers and the people most likely to hire you or pass it on. Every piece of content still deserves some marketing attention, though. Decide what you'll do with it once it's made.
A good camera helps, but film something with no purpose and people drop off fast. The question is what value you're bringing, and whether you're actually talking about something your audience cares about. That's why every video needs a purpose and a plan before anyone presses record.
The tools keep changing, from camcorders to phones to AI, but the decisions that make a video good don't. Know where you're going, what the video is for and what happens to it afterwards, then make the calls about story, audience and what to cut. I use new tools happily. I don't hand those decisions to them.
Some of my work
- Freshworks, a client since 2014, when they opened their first London office. For them I made Experience IT, a 12-episode interview series with CIOs and tech leaders (2020), and The Youth Rise in Power, a three-part documentary series with AWS and the London School of Economics that screened at The Cinema at Selfridges (2022).
- Kew, the Royal Botanic Gardens, a client I've gone back to more than once, including editing a short documentary on Brazil's Atlantic Forest with filmmaker Louise Stevens.
- Kenya and Botswana, with Green Traveller. Filming with travel journalist Richard Hammond, the founder of Green Traveller, including Sudan, the last male northern white rhino, at Ol Pejeta Conservancy before he died in 2018, and Maasai safari guide Evalyn Sintoya Mayetu, who is opening up guiding to women in the Greater Maasai Mara.
- The Wall, my first AI short, Highly Commended at Big Screen Hack London 2026.
- Clients including ICE (the owner of the New York Stock Exchange), CBRE, the British Council, Hilton, Intrepid Travel, Cambridge University Press, Royal Holloway, the Westway Trust, VSO, Euronext, RE/MAX and the Service Desk Institute.
How I write the guides on this site
I write every guide myself. Three are built on one specific shoot and say so. The rest draw on fifteen years of jobs and are checked against primary sources. If I recommend a bit of kit, I've used it, and prices are in pounds. None of my links earn me anything; if that ever changes, the link will be labelled. I use AI tools to help draft and tidy text, but I check every fact and setting before anything goes live, and the stories and opinions are mine. More on how I work.
Where else you'll find me
- nigelcamp.com for my film work and AI films
- DevilBoy Productions to commission a production
- LinkedIn · Instagram
Want to learn with me? See the workshops or get in touch.