Produced with support from the Hachioji Film Festival, this short film marks an ongoing collaboration with director TJ Kayama.

Access to ballrooms and churches brought a visual scale uncommon in short-form work. Lighting and shot design echoed the story’s themes, while a restrained camera language maintained emotional intimacy.

Shot in 4:3, The Kiss was designed through previs to maximize creative freedom under tight time constraints. For each shot, multiple previs options were generated and presented to the director, who selected or refined them as needed.

Though 4:3 was unfamiliar territory at the time, previs enabled a level of precision and confidence that made the format feel intuitive. It became another proof point for the process: given time to explore, even a new constraint can yield strong results, assuming clear taste and planning.

The production itself was relaxed and focused, with a schedule that left room to execute without stress.

A near-future sci-fi project that pushed scale and coordination. Scenes spanned multiple locations and VFX sequences; blocking, lensing, and continuity were previsualized digitally to align performances, eyelines, and geography.

The shoot tested a digital-first planning workflow under real production pressure, balancing ambition with control.

The first production where previs became essential.

Actor height data was used to generate digital stand-ins, enabling prototyped compositions and lighting plans before stepping on set.

When weather delays hit, the team stayed on schedule, because every shot had been pre-solved in advance.

Every shot was previs’d in Blender ahead of the shoot.

With limited time at each location, committing to angles and coverage in advance enabled a fast-paced production without compromising the results.

The result is a focused two-character piece. Visually composed, narratively lean, and logistically efficient.

A jidaigeki short, filmed on Shochiku’s Kyoto soundstages as part of Kyoto Filmmakers Lab.

Working with a traditional Japanese lighting crew required adapting to established methods and vocabulary, while subtly updating the visual tone to reflect a contemporary sensibility, all without breaking the genre’s stylistic integrity.

A final foray with the organic approach of finding angles on the day of, before previs digital planning became the standard.

Improvising angles on location, the film explored pressure within Japan’s education system through unplanned, responsive coverage.

The process underscored what flexibility enables, and what precision demands, when working without previs.

Shot entirely on an iPhone, the film unfolds along a single axis locked to the device for its full runtime.

Movement, performance, and pacing were shaped around this constraint, sustaining visual momentum without traditional coverage or edits.

A hybrid documentary built without tripods or interviews.

Handheld cinematography responded in real time to the subject, matching the stream-of-consciousness narration with a fiction-style visual language.

A dynamic product video for Tailwalk’s STEALZ reel, blending cinematic product shots with fast-paced on-boat footage. Shot in challenging conditions offshore, the handheld camerawork emphasized proximity and energy.

Product shots were captured using an LED wall, pairing slow-motion with stylized lighting.

The contrast between tight kinetic detail and wide drone aerials gave the final cut a sense of scale and energy unusual for this type of promo: an action film-inspired approach to outdoor product storytelling.