Ten years directing on real sets and writing for television. The last two and a half spent directing entirely inside the machine — generating and directing everything that used to happen in front of a camera, shot by shot, with AI. Now looking for the next production worth building.
One person, start to finish: I write the screenplay, break it down, generate and direct every shot, and deliver the final cut — no handoffs in between.
Each frame opens in Google Drive. If one doesn't load on your device, the same footage is in this shared folder.
Every production starts on the page, the same as a live-action set would.
The script is divided line by line into a working spreadsheet — the same discipline a traditional AD department uses, adapted for a generation pipeline.
New characters, costumes, props, and locations are designed and locked into a lookbook, with continuity tracked scene by scene alongside dialogue.
Each shot is matched to whichever tool actually delivers it best — a working knowledge of every model's strengths and limits, applied shot by shot instead of forcing one tool to do everything.
The opening is built and rebuilt until it earns the 3-second play — the metric that decides watch-through, click-through, and cost per install.
Cut, music, and SFX come together, the edit goes out for feedback, and the cut is revised until it holds.
Trained as a civil engineer, then entered the Kannada and Telugu film industry in 2015 as an assistant director, working across productions including a stretch with Rishab Shetty Films, before moving into writing and directing independently.
Wrote for Bigg Boss Kannada Season 11 at Endemol Shine India, and spent four years as writer-director at Ashwamedha Films in Dharwad. In 2025, that direction moved into AI production full-time as Creative Producer — AI Filmmaker at Pocket FM: the same job — blocking, performance, coverage, continuity — done with generation tools and a computer instead of a camera and a crew, now producing AI-driven film content for a UK audience.