The work
Nine finished pieces. Click any of them and it plays with sound — no sign-up, no showreel, no thirty-second intro before you see anything.
Short films and ads for things that are hard to photograph well. No studio booking, no crew, no shipping samples across the country. You send the product and what you want it to say — I send back a film.
Nine finished pieces. Click any of them and it plays with sound — no sign-up, no showreel, no thirty-second intro before you see anything.
Short film · 0:15
If you were fourteen in 2005 you knew the car before you knew the story. A BMW M3 GTR in blue and white, and a noise that got you sent out of the room. You never finished the game. You definitely never owned it.
This is the guy who did. No race, no cops, no blacklist — just a man at a petrol station at two in the morning, because that's when the roads are empty and the car sounds the way it did in your head.
I called it Hero because that's the slot the car occupies for a certain kind of person, and because a hero car is a real thing on a real call sheet. Both meanings are doing work.
Nobody paid for this. No client, no budget, no brief, nothing for sale in it. I made it to see whether something that only ever existed on a screen could be filmed like it was parked outside — and to find out if the internet would care. Those were the only two questions.
The internet cared. TikTok analytics, @neural_exit, first six days after posting.
Three things, and I'd rather be good at three than average at ten.
The cinematic kind — your product lit properly, moving, in a scene that makes sense for it. Delivered in whatever ratios you need, so the same film works on a product page, in a feed and in a pre-roll slot.
The stuff that's supposed to look like a person filmed it on a phone. Hook first, made in batches, so you can put three versions live and find out which one people actually watch.
Logo animations, kinetic type, 3D moments. For launches, intros, and the bits of a brand that look flat sitting still.
Four steps. Most of them are me working, not you filling things in.
The product, who buys it, and what the film needs to say. A few lines by email is genuinely enough. A call if you'd rather.
Two days later you get real footage to react to, not a moodboard and an invoice.
You tell me what's off and I change it. Making another version is cheap here, which means you're allowed to be picky.
Every ratio and format you need, ready to upload. No watermarks, no drip-feed, no licence that expires.
An AI production pipeline, plus a lot of hands-on editing, grading and sound. I'm telling you because it's the reason a film costs €300 and takes two days instead of €3,000 and three weeks — not because it's a secret. If you'd rather have a camera crew, you should hire one; they're very good at a different job.
Tell me what it is and what the film should say. You'll get a concept direction back and a price that's locked at €300 before anything starts — it doesn't move halfway through. No discovery call, no retainer, no onboarding deck.
Write me the brief