Video production with a vision
I've worked in film and television production since 2010. Today, that experience meets new and changing production with artificial intelligence.
I can take on a complete with a team mixed of real human experts and AI tools. Or I join exactly where your team needs support.
From the first idea to the finished film, you deal with me.
Launching a new product? Launch it! Literally!
The client wanted a social-media teaser for a new product: an ignition coil. The first time I saw it, I noticed the holes in its metal casing. That looks like a rocket engine, I thought.
So I prepared a presentation that took a rather generous detour via the historic Apollo 11 mission, just to build the necessary tension. I wanted to fire this thing into the sky like a rocket. My only worry was whether the client would let me turn the product into a huge exploding object. The team at Nissens loved the idea of literally ‘launching’ the ignition coil.
Nano Banana was new at the time and made it fairly easy to turn the perspective from a tiny ignition coil into a large rocket. Most of the video was made with Veo 3, then the latest video model. Sora 2 had also just arrived in November 2025 — the first model that could create multi-cut clips from one prompt. Perfect for a run of detailed B-roll shots.
Porsche Carrera Cup Asia
For two seasons, I was part of the media production team for the Porsche Carrera Cup Asia. I was responsible for highlight videos that had to be edited and published on race day. We also produced a live link from the pit lane before each race, the Carrera Cup Asia motorsport magazine with English and Chinese presenters, and social clips with the drivers.
I was living in Shanghai and travelled to races on some of Asia's most exciting circuits: in Japan, South Korea, Malaysia, Thailand, China and Singapore. From the outside, it often looked like a jet-set life with racing drivers. Inside the team, it felt much more like a family — a genuinely good group working closely under enormous time pressure throughout each race weekend.
That period was an experience I'll never forget. I learnt a lot about Porsche's standard of precision. Every centimetre matters on the car, and the same accuracy mattered in the films. I also got an immediate view of motorsport, the cars, and the lives of drivers and pit crews who regularly work at the limit.
The Porsche Carrera Cup Asia is still the reference I'm proudest of. The production was fast, demanding and very real. It taught me more about video production than almost any other project.
Isometric explainer films
An isometric graphic style is very good at explaining technical processes, logistics chains and industrial workflows. Looking diagonally down creates spatial depth without losing clarity: viewers can take in the whole system and several sides at once. In the film about the Liebherr Reman programme, that perspective makes the industrial cycle of remanufacturing used components easy to follow.
A photorealistic 3D model can be too much for a clear explainer. It may distract from the point, raise production costs and add rendering time. Isometric vector graphics keep the minimal, modern quality of flat design while adding enough dimension to make depth and movement clear. Even with AI, I work with experienced motion designers when the tools aren't precise enough for technical detail, invent components or introduce errors into the geometry. That keeps the details accurate and consistent with the company's visual identity.