The work, finished and in full.
Four finished films, shown start to finish, with how each one was made. None were commissioned. Two are product ads for invented brands, one is an invented product, and the fourth is an unofficial spec test using a real brand, not made for PepsiCo and not connected to them. Every piece carries its own spec line, so what it is and how it was produced sits on the piece rather than buried. What a piece like this costs.
Kindred: Renew Facial Serum
Self-directed · invented brand, no client · generated · 15 seconds · 1920×1080 · 24fps · with soundA product ad for the invented skincare brand Kindred, shot as a warm stone still life: the amber dropper bottle on sunlit travertine, olive branches, and leaf shadows moving across a bare plaster wall. There is no face and no hands in it, so the product and the light carry the whole piece, and it closes on the wordmark.
How it was made
It is built as a run of held still-life setups rather than one continuous move: the bottle upright on a travertine plinth, a macro on the dropper and its gold collar, then an overhead of the bottle laid on stone beside an olive branch and a smooth pebble, cut together and closing on the wordmark. The whole piece stays inside one narrow palette, warm sand and cream against the olive green, so nothing in frame competes with the amber of the glass. It carries its own sound.
Rodgers: Coffee
Self-directed · invented brand, no client · generated · 15 seconds · 1920×1080 · 24fps · with soundA coffee ad for the invented roaster Rodgers, built as the obvious sequence done properly: beans, grind, extraction, the cup, and milk going in. Warm and dark the whole way through, with the light doing the selling rather than any on-screen claim, and it closes on the wordmark.
How it was made
The order is the point. This is the sequence every coffee ad runs, so the only thing left to compete on is how each beat is held. The cuts sit on the moments that carry motion of their own, beans falling, the pour breaking, milk landing. The one transition that is not a hard cut is a blur straight through the grind, the only place in the piece where losing the image for a few frames reads as intent rather than a mistake. The milk crown is the payoff and it is the last thing before the wordmark, because a splash is the one beat a viewer will wait for. The whole film sits in a single warm palette against near-black, so the chrome and the crema are the only bright things in frame.
Exo Hand: Hypermotion
Self-directed · invented product, no client · generated · 10 seconds · 1920×1080 · 24fpsA technical product-showcase piece for a cable-driven hand exoskeleton, built to demonstrate its precision, articulation, and dexterity. Nine shots in ten seconds, cut hard and fast, on a clean, cool-lit studio void, with the mechanism as the hero throughout.
How it was made
A nine-shot, ten-second hypermotion reel, every shot image-conditioned on the same reference hardware to hold it identical throughout. It opens on an extreme macro of the wrist actuator and a taut cable, then runs a set of grip demonstrations (a power grip on a bottle, an envelope grip on a ball, a precision pinch on a thin peg) intercut with a bullet-time freeze on a single knuckle joint and a speed-ramped rotation reveal of the full assembly. Kinetic, HUD-style readouts (“15 articulated joints,” “full range · 1:1 tendon drive”) snap on and off with the cuts, and the reel closes on a locked pack shot under the end card “Engineered dexterity”, cut to exact timing with two whip transitions.
Pepsi Max, unofficial spec ad
Spec test · not commissioned, no connection to PepsiCo · generated · 11 seconds · 1920×1080 · 24fps · with soundThis is a spec piece. It was not commissioned, briefed, paid for, approved or seen by PepsiCo, it has never run as advertising anywhere, and it is on this page for one reason only: to show what the technique does when it is pointed at a brand you already know, instead of one I invented. Treat it as a test, not as a client.
PEPSI, PEPSI MAX and the Pepsi Globe are registered trade marks of PepsiCo, Inc. I don’t own them and I’m not affiliated with, endorsed by or connected to PepsiCo in any way. They appear here purely to demonstrate craft, no sponsorship or approval is implied, and if PepsiCo would rather this weren’t up, it comes down on a single email to [email protected].
Everything on screen is generated. The bottle is not a photograph of a real bottle, the pack is not real Pepsi packaging, and the label copy is invented nonsense that falls apart if you read it closely, which is exactly what you would expect because a model made it up.
Eleven seconds of cola built around the open: condensation standing on a cold cap, the bottle whipping past on blue light trails, the cap lifting off in a breath of vapour, and the splash that earns. Deep blue and near-black throughout, with a single red light doing all the contrast work, closing on the globe.
How it was made
A pack everybody knows removes the excuse. With an invented brand nobody can tell you the bottle is wrong, and here they can. It is built around the open: a macro on condensation standing proud of a cold cap, a hard profile whip across blue light trails, then the cap lifting off the neck in a breath of vapour, which is the beat the whole thing exists for. The splash comes after that and is held longest, because a splash that follows an opening reads as a payoff and one that opens a film reads as noise. Then a receding line-up on a reflective floor, and the globe on black.
The first cut ran fifteen seconds with a whole underwater sequence in it, the bottle breaking the surface and sinking through shafts of light. It was the prettiest footage in the piece and it came out. It pushed the open and the splash so far apart that the film stopped being about opening a cold drink and started being a showreel. At eleven seconds the beats sit next to each other properly. Cut and graded in DaVinci Resolve, and it carries its own sound.
Four films, none of them commissioned, and the Pepsi one is a spec test with no connection to PepsiCo. That is the whole body of motion work I am showing and I am not going to pad it out. The Motion page goes through what that means for a piece of your own.
Two other things I do.
Same person, same honesty about what is a client and what isn’t.
A specialist home-physiotherapy practice whose old site was a template with a five-field contact form eating the first screen. The redesign leads with what the practice treats instead. The before and after, and what a site costs.
The mark this whole site runs on, built the same way a client one would be: outlines rather than live text, every lockup and file format, and rules that keep it consistent wherever it turns up. The full identity, and what it costs.
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