Director · Head of Production
Portfolio / 2026Showreel / 2026
Directing · multicamera production · live
I bring the team together, work out how to shoot it, and lead the project from idea to final master.
Selected work
I developed the visual language and shooting model for six documentary films and lead the full cycle — from the shoot through final master. The project was selected for the main competition at the IV ORIGINAL+ DOC Festival 2026.
A multicamera dating show for audiences aged 40+. Together with the production designer, I created the studio and led the visual concept, seven-camera shoot, and the entire post-production cycle.
I led the visual side of this film programme: a studio show, remote interviews with international actors and directors, and a mobile studio at industry events. I was responsible for the shooting model, editorial rhythm, and final master; this was also where I began transitioning Ledohod's production pipeline to DaVinci.
I have worked on the project since September 2023. I rebuilt the seven-camera studio: instead of the “one camera — one shot” model, I introduced mobile camera teams and let cameras work within the scene. The production pace is 6–8 hour-long programmes over 2–3 shooting days. The project was a finalist at the 2025 IRI Awards.
Designed the shooting model for the studio film game and led eight hour-long episodes from the floor through final post.
Ten days from commission to final delivery. In that time, I refined the script, completed the scout and pre-shoot, prepared the storyboard, directed six actors, edited the film, and supervised the grade through client delivery.
How I work / 03
I first work out what the project should become and what needs to be in the frame. Then I bring together the people, equipment, and working plan to make it happen.
I look for a distinct solution for every project: how to shape the space, where to move the camera, how to light it, and what rhythm the edit should have.
I work with both single-camera crews and large multicamera studios. I choose the setup for what needs to happen in the frame, not out of habit.
On large projects I work with crews of up to 40 through department heads, while staying closely involved in both creative and technical decisions.
Problems on set and during live broadcasts have to be solved immediately. If equipment fails or the original plan falls apart, I rebuild the setup and keep the production moving.
I automate the tasks a team repeats dozens of times by hand — from graphics in DaVinci to project control and tracking editorial notes.
I design the frame, direct the shoot, and understand how the material will be edited — and how it will sound and look in the final master.
