Everything here moves for a reason.

I run creative at Shuffll, where video is produced by systems rather than by hand. I direct the campaigns and I design the machinery that makes them. One personalised campaign went out as more than 150,000 individual films, each one built for a single named person. Another runs as an automated content engine, generating a video on demand every time the platform receives an API call, and it has passed 50,000 of them.

None of that works without knowing what good looks like first. Before this I spent years directing commercials, preschool series, trailers and live event content, usually owning the whole pipeline: brief, script, casting, shoot, edit, delivery.

Some of it reached Coca-Cola, Walmart, Mattel and Playtika through distributors and studios. For sixteen years I was the person BabyFirst called for anything, from a broadcast promo to working out what the thing should be in the first place. Earlier still I built and led a seven artist texturing department through a feature length CG film.

The problem is almost never the idea. Most work that falls flat has a perfectly good idea inside it that got held two frames too long, or cut two frames early. Timing is where things live or die, and that is the part I am genuinely useful for.

I still work the tools, which changes the kind of director I am. When I ask someone for something I know what I am asking and roughly what it costs them, so my notes are specific and my schedules are honest. These days I direct a small team and a freelance bench, and most of the job is writing down reasons rather than touching frames. Explaining to a machine why one cut works and another does not turns out to be the clearest way to find out what you actually believe.

Away from work I build arcade machines, a full size cabinet and a virtual pinball table so far, and teach a weekly spinning class.