ART DIRECTOR
The Intersect
Every project. Every decision. Every frame.
Broadcast · Film · Art Direction · Branded Content
There is a particular kind of creative professional the industry quietly depends on. The one who understands both sides of the camera. What it takes to build something, and what it takes to make it mean something. The work collected here sits at that intersection. Broadcast. Film. Art direction. Branded content. Built across three continents, recognized internationally, and always held to one standard
The Art of Light
The Philosophy.
This isn't a reel of big budgets and recognizable names. It's something more personal; a collection of lighting setups that got it right. The kind of frames where the light does exactly what it's supposed to do and nothing more. Clean. Considered. Quietly precise.
Every cinematographer has a philosophy about light.
Mine is simple. Light should serve the subject, not compete with it. The moment a viewer notices the lighting, something has gone wrong. The goal is always invisibility. The feeling of naturalness achieved through deliberate, technical precision that took years to develop and still takes everything to execute correctly.
These are not the most elaborate setups I have built. They are the ones I am most proud of. There is a difference.
The Craft.
Every setup in this reel started with one question: what does this moment need to feel like? Not what equipment is available. Not what the budget allows. Not what has been done before on a similar shoot. Just the feeling. The rest is problem solving.
Beauty lighting is one of the most technically demanding disciplines in production. The margin between flattering and unflattering is measured in centimetres and degrees. A source moved two inches in the wrong direction can change everything. The mood, the texture, the emotion of the frame. Getting it right requires understanding light not as a technical tool but as a language.
This is that language at its most direct. Stripped back. Honest. No hiding behind production value. Just light doing what light does when someone knows how to speak to it.
The Intersect
Technical mind. Creative eye.
Deliberate.
Art Direction demands fluency across every visual language simultaneously. The set that feels lived in without looking dressed. The palette that shifts emotion before dialogue does. The social frame designed not for a television but for a thumb moving at speed.
Getting all of it right, at the same time, under pressure, across departments, requires something beyond talent. It requires obsession. The kind that notices the lighting in every room you walk into. That sees a finished frame before the equipment is unpacked. That loses sleep not over deadlines but over whether the colour in the third shot is doing what it needs to do.
The best Art Direction disappears. Nobody watches a great show and thinks about the set design. Nobody scrolls past a campaign and consciously registers the typography. They just feel something. Pulled in. Held. Moved. That invisibility is the goal. Achieving it consistently, across formats, budgets, and briefs that change overnight, is the work.
Last Seen
Art Director, Creative
The Brief.
A concept. A title. Nothing else.
No visual references. No set. No style guide. No talent with acting experience. Just an idea handed across a table and a question left unspoken. What do you do with it?
The Case Study.
The hardest briefs are the ones that arrive as a blank page. There is nothing to react to, nothing to push against, nothing to refine. Everything has to be decided, and every decision has to be right because there is nothing underneath it to catch a mistake.
Last Seen started there.
The format presented its own particular challenge. This was not a creative promo or a narrative film where visual ambition is expected and welcomed. It was an informative social media program for an Arab audience; a format with conventions, with expectations, with an audience that would notice immediately if something felt wrong. Creating something visually distinctive within those boundaries, rather than despite them, required a different kind of creative discipline.
The set was designed from scratch. The lighting built around a mood that needed to feel intimate and authoritative simultaneously, the kind of atmosphere that holds attention on a phone screen at any hour of the day. The camera approach developed to serve a subject who had never performed in front of a lens before.
That subject became the central challenge and the central achievement. A week of preparation. Not just rehearsal, construction. Building confidence, building presence, building the understanding that delivery is not about memorising lines but about meaning them. The camera operators were trained on the visual language. The lighting team briefed on the atmosphere. The floor managers brought into the creative logic so that everything on set was working toward the same feeling.
Post production continued the same way. Sitting with editors not to approve a cut but to shape one, refining the pacing, the style, the way the show breathed between moments. AI tools brought in to enhance the storytelling where the production needed depth that the shoot alone couldn't provide.
The result was a program that felt like nothing else in its category. A social media format that held cinematic standards. An Arab audience production that treated visual identity as seriously as content. A non-actor who became a presence.
The Result.
2× Silver Telly Award. 2× Bronze Telly Award.
The first production taken completely from concept to screen. Every creative decision made, every department directed, every frame owned.