Cinematography Showreel
Ten years of commercial work as a one man crew, cut as a single point of view rather than a highlight tape.
What you are watching
Ten years and more of commercial work, cut as one point of view rather than a highlight tape. Every frame in it was directed, shot, edited and graded by me. That is the reason it holds together: it is not a list of productions I was booked on, it is a record of decisions I made and had to live with.
One person, the whole chain
On most of this work I was the entire crew. Concept, shot list, camera, lighting, sound, edit, color, motion graphics, delivery. Not because a bigger crew is worse, but because one pair of hands from brief to master removes the place films usually lose their shape: the handoff.
The shot list is written by the person who has to light it. The edit is cut by the person who was behind the camera and already knows which take carried the moment. Nothing gets described in a document and then reinterpreted by someone who was not in the room.
What I decide before the camera comes out
Cinematography is not equipment. It is a short list of decisions a client never sees and always feels.
- Where the camera sits. Height, distance and lens do more to set how a brand reads than any grade applied afterwards.
- What the light is doing. Whether a room is lit to look expensive, lit to look real, or left alone because the hour is already doing the work.
- What survives the cut. The footage is never the film. I decide what stays, and a shot I spent the day getting comes out if it does not earn its place.
- How it is finished. Color, sound, titles and graphics are part of the same decision, not a pass handed to someone else at the end.
What is in it
Commercial production across more than ten years for Tunisie Telecom, UBCI, Tunisair, Danette, Amstel, UNIDO and Spectrum.
The cuts run horizontal and vertical, short form and long. A thirty second spot and a long institutional film are the same craft at different lengths, and a vertical cut is framed vertically on the day rather than rescued in the edit.
The kit is professional throughout: cameras, lenses, lighting and a full post pipeline, chosen per brief rather than owned and then imposed on every job. I have not listed model numbers, because they are the least interesting thing about any of these frames and they change every two years. What does not change is that the person choosing them is the person who has to make the shot work.
Working this way on your project
You brief one person, and that person is accountable for the result. Where a project genuinely needs more hands I bring in a crew I have worked with in Tunis, and you know who is on it and why before they touch your project. Delivery is whatever the channel needs: broadcast master, web, or vertical cuts built for the platform rather than cropped down from a landscape edit.