Work
How the sausage gets made. Welcome to the footnotes. This section is not about the final render. It is about the friction, the philosophy, and the reasoning behind the pipeline. If you want the polished frames, check Production. If you want to know how the pipeline was actually built, read on.
Tetr
I joined the founding marketing team at Tetr in 2024, into a genuine 0-to-1. A few brand principles were in place. The machine that turns principles into content across continents was not. We built it on the ground, one experiment at a time.
The work refused to hold a single shape. Some IPs were lean enough to run alone; others needed a cross-border crew moving in step. I started as an acting cinematographer and settled into the DoP seat as we learned what the brand actually needed. DoP is Director of Photography: the person who owns how the thing looks on camera, the framing, the light, the lens, the movement. On these shoots that was me, deciding the picture and usually operating it too.
Operating inside a fast-scaling global machine takes a very specific kind of paranoia. The hard part was never capturing the work across continents. It was making sure the data survived the trip home. Alongside the content strategy and the hybrid cine bodies, I built our Digital Imaging Technician (DIT) practices: strict multi-camera timecode syncs, matched color profiles across mismatched units, audio redundancies, automated cloud pipelines. Less glamour, more insurance. Whatever time zone we were wrapping cables in, the footage made it home.
See Tetr Production →Wingreens
You learn a lot about lighting when your primary subject is a jar of mayonnaise.
Wingreens was well over a decade old when I got there, and I was the first person hired to own its audio-visual output. A founding marketing team was taking shape around me, but on video I was the department: shooting, lighting, and editing nearly everything myself. The brand's voice had lived mostly with the founder until then, and she held a clear, unbending idea of what it stood for. My job was to turn that into things people actually feel something watching, at volume, on a scroll.
Pure execution inside rigid commercial constraints, and the range it demands is absurd. One day is six hours lighting hand-picked, hand-glued naan chips for a packaging frame. The next is the brand's first real high-production ad, filmed overnight in a shut-down supermarket. I produced and edited it, working as cinematographer under a separate DoP.
It drilled the unglamorous fundamentals: color accuracy is not optional, a bounce card in the right place beats most gear, and you can ship real volume without lowering the floor. Take a locked brand identity, and make the product hold on a screen someone is aggressively scrolling past.
See Wingreens Production →Ein Lall
It started as a college side gig, cutting a documentary on contemporary dance, and became a three-year apprenticeship I did not know I had signed up for.
I was in my early twenties and quick on a timeline, sure I could breeze through any edit. Ein Lall works on another frequency. She is an old-school director who maps and cuts dialogue on printed bond sheets, by hand, on paper. The friction between my software speed and her paper patience is where I learned pacing: the instinct for when a cut is locked, and when it sits a frame short of it.
Working with her across those years, and still, whenever the work comes up, showed me what protecting a vision actually costs. In an era where it is easy to let the edit go hunting for the story, she builds the whole film in her head before a frame is shot and holds that line to the final render. I also spent time restoring a run of aging archival films there, which teaches the same thing from the other side: the footage outranks your opinion of it.
See Ein Lall Production →