Some stories have always been out of reach for cinema. Shooting them the conventional way meant a budget these films almost never get. Today generative models carry part of that load: the actor performs on a stage, the world around him is built in post. My job is to keep the technology in service of the story rather than the other way round.
Full-cycle producing
Hybrid production
Co-production
Selected work
Documentary, narrative and hybrid film. AI-generated commercials.
The method is the same for a thirty-second spot and for a feature. Only the scale changes.
References before generation
Before a single frame is generated, a locked set of references is built: faces, costumes, vehicles, key locations. Each one gets a name it can be called by later. Skip this and your lead changes face from shot to shot — the main reason most AI films never hold together as films.
A single style prefix
Lens, palette, season, light and rating are fixed in one formulation and applied to every shot in the scene. That is what makes the material cut together as if it were shot on one camera on one day.
A shot-by-shot list
The script is broken down into individual shots, each described precisely, before anything is made. From that point on it is a document the whole team works from — the same principle as a conventional storyboard.
Shooting, where it's needed
On hybrid projects the actors perform against chroma key following the locked shot list, so the shoot day stays short: only what has to be genuinely performed gets filmed. On fully generative projects this step disappears and the weight shifts onto references and post.
Assembly and compositing
Building environments, integrating live plates, colour, sound, music. The longest stage, and the one where the film actually comes into being.
Delivery
Master to platform spec, montage sheets, subtitles, audio description, reporting. The formal side takes longer than people expect, and it is where finished films most often get stuck.
The technology isn't the point. It's a way to put back on screen what can no longer be filmed.
A ruined church, the field of a long-ago battle, a submarine in open water — all of it exists now only in documents and memory. What used to stand between that material and an audience was a budget that rarely appeared. Generative production closes that distance: the shoot gets shorter or disappears altogether, and the image stays cinematic. The rest is ordinary producing, a craft that's been around for a century.
7
years producing
9
films and commercials
40+
crew on the most recent feature
10
awards and honours
What I do
Run a project end to end
I carry a film from the first draft to the delivered master: budget, crew, contracts, rights, reporting. I finish what I start — projects leave my desk as films, not as pitch decks.
Build the image generatively
I can shoot what doesn't exist. The actor performs on a stage and the world around him is built afterwards — or the image is made with no camera at all. The method has been through a feature, so I know both what it can do and where it starts to fail.
Finish and deliver
Edit, grade, sound, music. Plus everything finished films get stuck on: montage sheets, subtitles, audio description, a delivery package that meets platform spec.
Work with historical material
I build the factual layer alongside archives, historians and heritage bodies — so it holds up in front of a specialist. I do the same in co-production with studios abroad, including vertical formats and short drama.
