Corporate & brand films, motion graphics, and AI-assisted production — concept to delivery, one pair of hands.
EquipmentShare in :30
The whole company in thirty seconds: equipment, technology, people, and a customer’s own words, cut fast and finished at broadcast level. Built end to end by one pair of hands: field footage I shot, a script I wrote and developed with Claude and Google AI Studio, and an edit that folds the testimonial into the spot rather than bolting it on.
The audio is a hybrid pipeline. I recorded the voiceover on a phone, cleaned it with Adobe Podcast Enhance, and re-voiced it with ElevenLabs. Sound design blends stock with ElevenLabs-generated nat sound, and the score is arranged from Suno stems I prompted myself. Picture-side, numerous shots were built from stills with Kling and finished as After Effects composites, and the single locked-off testimonial setup was rebuilt into the two handheld angles that carry it in the cut, using an AI matte, a reconstructed background plate, and a virtual camera.
The centerpiece is a motion sequence that begins as a single stock still. Kling generated a drone orbit from the frame, a Photoshop-built digital twin extended the scene several degrees of rotation, Kling animated the bridge between the two, and After Effects layered more than thirty environment-tracked data tags I designed onto the equipment, their readouts randomized by a Claude-assisted script so every instance is unique.
Two more shots in the spot began as static stock stills. Kling generated the camera moves, and each clip was graded and finished to sit invisibly inside the surrounding footage.
The testimonial was captured as a single locked-off setup. In After Effects, an AI-generated matte isolated the subject from the frame and the background was rebuilt as a clean plate behind him. A virtual camera then reframed the scene into two new angles, a wide and a tight, each with its own subtle handheld drift. The locked-off original never appears in the spot; the two built cameras carry the testimonial on their own.
Press play. The read starts as the raw scratch recorded on an iPhone, switches to the Adobe Podcast Enhance cleanup at two seconds, and to the ElevenLabs re-voice at four, without dropping a syllable. The takes are synced and the levels are matched; the difference you hear is the processing. Click any stage to hear the full six seconds in that voice.
STOCK STILLDIGITAL TWIN- 01One licensed stock still: an aerial of an active construction site.
- 02Kling generated a drone-orbit camera move from the frame.
- 03The equipment was extracted from the plate, piece by piece.
- 04The machines were rebuilt as white-gradient 3D objects, and the structures and background were simplified into a dark digital twin of the site.
- 05The transition between the real scene and its twin was animated, carrying the orbit through the morph.
- 06Every machine carries a data tag I designed as an After Effects precomp: unit ID, rental or owned, status, hours, fuel, sync. More than thirty of them, environment-tracked into the scene, with a Claude-assisted AE script randomizing the data so each instance reads unique without hand-editing a single one.
Not everything in the spot is generative. The logo resolve and the URL callout are traditional After Effects animation: curves, easing, and taste, keyframed by hand. The URL callout is mine end to end, from the concept and the design of the element itself to the motion.
Murray Ward: A Customer Story
A customer story for EquipmentShare, and the longest piece in this set. I shot the interview and all of the field b-roll, cut the piece, built the motion graphics, and scored it with a track I prompted and assembled from Suno stems.
Four shots in the edit are fully generative, built with AI and graded to sit alongside the photographed footage without announcing themselves.
Safety on Safety
For National Safety Month, EquipmentShare paired LSU safety Tamarcus Cooley with regional safety manager Gregg Johanesson and let the position do the talking: covering your teammates on the field, protecting your crew on the site. Constant communication, hazard recognition, same instincts. EquipmentShare is the official construction technology and equipment provider of LSU Athletics.
I wrote the script with AI assistance, directed the shoot, and led and shot the interviews. The cut is vertical-first, with a motion package I built: the LSU-yellow lower thirds, the EQPT name plates, and the No Exceptions type cards that close it.
T3 KeyPad at ConExpo
CONEXPO floor, Gen 6 KeyPad launch. Shot run-and-gun at the T3 booth, one camera and no second takes, then cut to keep the trade-show energy intact.
All of the graphics and animation are mine, from the supers to the keypad’s beauty moment in After Effects, and several shots in the cut are AI-generated, built to blend with the floor footage.
T3 Dash Cam
A product overview for the T3 Dash Cam, opening on the Job, Meet Sight line. I shot all of the live footage, in-cab and on the road, and cut it against interface animations, type cards, and device beauty shots.
The film had to explain a camera you cannot demo in person: dual views, real-time safety detection, and fleet archiving, each visualized as a working screen rather than a claim.
The Story of Meh
A brand explainer for Meh, the daily-deal site with a sense of humor about itself, animated end to end in a flat-vector world: the warehouse, the crowd, the Meh-rathon, all of it built to a two-color grid of orange and teal.
Every scene began as artwork I drew in Illustrator, then moved to After Effects for animation, character beats and type included, across a 2:24 runtime.