Commercial Film & Visual Narrative

Commercial film for me is not the work of carrying a single scene to screen, but a brand's character. Brand films, campaign launches, hotel and jewelry commercials, editorial motion pieces all run through the same discipline.

I work as a solo filmmaker. That means I work with small, right-sized teams. I'm at the top of the set, behind the camera, at the color desk. I shorten the chain of decisions and I don't let projects drift away.

I shoot with Sony FX30 and FX3. Tilta rig, V-Mount power system, Atomos recorder, Sigma Art lenses. I keep different-budget jobs at the same level with the same equipment portfolio.

In cinematography I don't flirt with natural light. I build the light. My set lighting comes with the Zhiyun Molus family and Godox AD300 Pro. I start not when I see what I'm looking for, but when I know it.

Color management runs through ARRI LogC. I do the color grade myself in DaVinci Resolve. My visual language is built on hard contrast, rich shadow, honesty in skin tone.

I don't draw storyboards before the shoot. I find the frame inside the set. I use the brand brief not as a prison but as a trampoline. Another film comes out of it.

On the side I keep working on a self-portrait series I call Late Night Series. Short films that work with the night, that rewrite biography in the language of tension. Not commercial, but the laboratory of the discipline.