Reel

AI-Enabled Marketing Designer, Creative Producer, Content and Growth Strategist Based in Greece, working internationally

I make the films and the pictures a shoot could not pay for.

Generated product photography, synthetic creators, and the pipelines that keep both of them honest. I write the brief, build the line, run the gates and hand over the folder.

A storyteller who builds the machine as well as the story. Scripts, shorts, invented brands and photoreal frames come out of generative pipelines a marketing team can run without me.

Greek and English. Every piece below carries a label saying whether a client paid for it or I set it myself.

A photo of me.
one creator always training
01 Reel

Ninety seconds

A FERAL Yuzu Static can standing in shallow water with magenta and green vapour behind it.
A rider on an Indian motorcycle on wet cobbles at night, canal houses and street lamps behind.
A single amber KNUCKLE chew sliding out of a black leather sleeve, the flavour names stamped into it.
Play the cut

One cut, and under it a list saying what each shot is, which pipeline made it and what I did on it. Client work and spec work are marked separately in that list.

02 Selected work

Selected work

The TaleCrafters mark on a near-black ground: two white eyes over a wide grin made of film-strip perforations, with a cyan edge under it.

TaleCrafters Studio, mine 2026

My own studio, and the site is the argument for it: every claim on it carries the pipeline, the gate or the stack that produced it.
The terrace at Mariposa after dark, with wooden decking, cane shades, planting overhead and a lit table in the middle distance.

Mariposa Client 2026

A restaurant needed a fully SEO- and AIO-optimised site, a film, realistic dish photos from different angles, and synthetic social media content.
A polder at sunrise seen from the air, rows of red, orange and pink tulips in blocks beside a canal, a line of windmills receding along the bank and mist lying over the fields.

IB-NL Client 2026

A consultancy needed to say it works out of the Netherlands and operates worldwide, without a word of voiceover.
A rider on an Indian motorcycle on wet cobbles at night, canal houses and street lamps behind, sparks trailing from the road surface.

Bike Barn Client 2026

A dealership wanted two hero films for their motorcycles, without getting out of the showroom.
A photoreal punk figure standing in a dark office, its head a segmented pie chart with angry orange eyes, a mohawk made of coloured bar chart columns, wearing a leather jacket stencilled DATA PUNK over a striped chest of glowing figures, with lit graphs on the screens behind.

Big Blue Data Academy Client 2026

I designed a dynamic, if unconventional, content calendar that blended pop culture with data education, increasing the overall brand image.

An Amino Alliance pouch on a laboratory bench with a glowing atom symbol beside it, lit from behind.

Amino Alliance Client 2025

A supplement brand needed UGC ads and product photos.

The title card of the vector attack explainer, reading Attack Vector Deployment in cyan display type over a dark network mesh, with the COCOON mark above it.

SEleNe CC Client 2025

A grid cyberattack had to be explained to people who do not work on grids.
UGC spokesperson Jarfis Property Group
UGC spokesperson

Jarfis Property Group Client 2026

A Property Group in Bali needed UGC realistic spokesperson with their own cloned voice and a synthetic hero film that showcases two of their properties.

A night-city billboard for FERAL Yuzu Static, the can breaking out of the board in front of the artwork with lime slices and green liquid crossing the frame.

FERAL Spec, self-initiated 2026

An energy drink I invented so the label had nowhere to hide, then walked off a billboard over a wet night street.
A wide animated frame of a Mars colony: two figures standing apart in front of a landed rocket and a domed habitat, orange rock formations behind them.

Mars Drop Original 1:47

An animated two-hander with no action in it, made to find out whether the pipeline can hold a scene on dialogue alone.

The self-initiated work sits on its own shelf, labelled as spec throughout. Open the spec shelf.

Also built and shipped

03 Films

AI Filmmaking Workflows

Three original shorts. I wrote, designed, directed and cut all three of them inside a generative pipeline, and the sheet or the beat map behind each one is here in full.

The Twin Moons key art: two swordsmen facing each other across a wet neon platform in the rain, one hooded with a magenta blade and one in red armour with a cyan blade, two moons and a burning wreck behind them over a dark city, the title set between them.

Twin Moons Original 0:35

A rooftop arena under two moons, a bladesman clearing it, and a phase assassin arriving on a burning wing.
The Skyrunner key art: a small fox pilot in goggles and a flight coat stands beside her folded glider on a wet golden terrace, an armoured figure at each edge of the frame, a floating spire city behind her, the title in gold above.

Skyrunner Original 0:30

A glider run through a floating city, flown along a route drawn by hand before a single frame was generated.
The Mars Drop key art: a wide animated frame of a Mars colony, two figures standing apart in front of a landed rocket and a domed habitat, orange rock formations and a blue sky behind them.

Mars Drop Original 1:47

A comedy two-hander with no action in it, made to find out whether an episodic AI pipeline can hold a scene on dialogue alone.
04 Product

AI Product Photography

Spec, self-initiated

6 brands that do not exist, 34 frames, all of it set by me. Nobody commissioned any of it, and nobody paid for it.

  • A FERAL Yuzu Static can standing in shallow water, beaded with condensation, magenta and green vapour behind it and a splash around the base.
    hero, water set
    FERAL

    Yuzu Static, canned energy drink

    One label held across five sets, then one creator held across three rooms

  • A woman taking a mirror selfie in a bedroom strung with fairy lights, holding a small compact camera on an orange wrist strap.
    bedroom, warm practicals
    GRAIN 01

    Compact digital camera

    One face across three light sources: a bedroom, a club and a rooftop at sunset

  • A close crop of the SLAB tray, pale protein blocks in foil wells, some sealed and some torn open, numbered along the card.
    plate, macro
    SLAB

    Protein blocks in a blister tray

    A pack claim that has to stay readable, and two people in one frame

  • A KNUCKLE Energy Chews carton standing behind four flavour wrappers, JAB in yellow, CROSS in orange, HOOK in red and KNOCKOUT in purple, each with a matching four-hole moulded sweet beside it.
    range, full label test
    KNUCKLE

    Energy chews, four flavours

    The hardest label test on this shelf: a box, four wrappers and four moulded names

  • KILNWORK hero image a sented candle. stoneware candle, warm analogue
    warm analogue
    KILNWORK

    stoneware candle, warm analogue

    matte handmade surfaces are the quickest route to a CGI look, and daylight is harder to fake than studio light.

  • Petal Veil SOIE serum hero shot
    hero shot
    SOIE

    facial serum, soft daylight

    Glass and liquid are where synthetic imagery fails hardest, and a folder built in one house style says nothing about range.

Every frame, the arguments in full and the gate each brand was built to break. Open the product shelf.

05 Captures

Photoreal captures

Generated human frames, kept for one reason each. A face at rest is the easiest thing these models make. Skin under unflattering daylight, hands doing skilled work, two people with a real eyeline between them and wet ground throwing the light back up are not, and those are what is on this shelf.

  • A woman in a black work fleece with a name badge rests her head against a bus window at night, holding a phone, her face reflected in the glass alongside the traffic and shop lights of the street outside.

    The late shift

    A reflection that is a second performance. The face in the glass has to be the same face, at the correct angle, over a street that is genuinely behind her.

  • A man in a navy t-shirt pours from a glass coffee jug into a mug in a cluttered domestic kitchen while a young woman in a grey hoodie stands behind him with her arms folded, mid-sentence, looking at him.

    The kitchen

    Two people in one frame with a real relationship between them. He is not listening, she is not finished, and the eyeline goes somewhere.

  • A model in a long charcoal overcoat walks a white runway in profile, lit hard from overhead trusses, with two banks of seated guests in near darkness on either side and the back of a photographer’s head in the foreground.

    Runway

    Depth with people in it. Two rows of a seated crowd falling away into the dark, each face resolved enough to be a person and none of them competing with the subject.

  • Close on two weathered hands at a workbench, one drawing a waxed thread taut and the other steadying folded blue-grey cloth with a thimble on the finger, a brass ring, an anchor tattoo on the forearm, tacks and a pencil scattered on the wood.

    The stitch

    Hands doing skilled work. Ten fingers, a thimble, a thread under tension, and a grip that would actually hold the material it is holding.

Every frame is generated and labelled as generated. See all 8, with what each one was built to break.

06 Pipelines

AI Creative Pipelines

Seven of these are written down, each with its stages, the tool behind each stage, and the control gates that stop a frame from shipping. This is the line behind the product shelf above.

The master plate

Ninety frames before lunch

Every frame lit the way you asked for, packaging type still readable at full zoom, and nobody had to book a stylist, a retoucher or a room with a cyclorama.

01 Plate

Runs on
GPT Image 2, or a phone against white
Fixes
One clean product frame on a transparent background. Everything downstream references this file, so the bottle keeps its shape.
Takes
One hour

02 Label lock

Runs on
GPT Image 2
Fixes
Small type, logos and packaging text hold through edits, written out as transparent PNGs, so the label stays readable while the set changes around it.
Takes
One hour

03 Set

Runs on
Written as a specification
Fixes
Surface, backdrop, props and lighting get specified once and reused, never improvised per frame: one key, one fill, one practical, one stated colour temperature.
Takes
Half a day

04 Angles

Runs on
Nano Banana Pro, GPT Image 2
Fixes
Hero three-quarter, macro texture, flat lay, in-hand, lifestyle and splash. One set, one lighting rig, six crops for six placements.
Takes
One day

05 Motion

Runs on
Kling, Veo 3.1
Fixes
Image to video for the pour, the orbit, the lid lift and the cap reveal. Eight seconds each, cut down to two for paid.
Takes
Half a day

06 Formats

Runs on
Photoshop, Figma Make
Fixes
Crop matrix per placement: 1:1 for the grid, 4:5 for the feed, 9:16 for Reels and TikTok, 16:9 for the site header, plus the marketplace sizes.
Takes
Two hours

Control gates

  • Label gate

    Test Zoom to full resolution and read every word on the packaging.

    Fail Reroll from the master plate. Never retype in post.

  • Silhouette gate

    Test Overlay the render on the master plate at forty per cent opacity.

    Fail Any shift in outline kills the frame.

  • Light gate

    Test One key direction and one shadow direction across the whole set.

    Fail Regenerate the odd frame so the set stays honest.

  • Claim gate

    Test No invented certification marks, awards or ingredient wording.

    Fail Remove it, then render again.

Loop Two rounds. Thirty frames for selection, then ninety frames and six clips. Layered files land in two working days.

07 Writing

Writing

Published in full, not offered on request. Scripts keep their direction column, feed writing is set as text and never photographed off a phone, and the long form is described by the argument it had to carry.

Ongoing, published

SEO & AIO blog posts for TaleCrafters Studio

Written against questions people actually type, for search engines and for the answer engines reading over their shoulder.

What generative video costs in 2026. What the EU AI Act now makes an advertiser label. How a master plate holds one product across a hundred shots. Each one is a working answer with its sources cited, not a keyword page, which is the only version of this that survives being read by somebody who does the job.

Read them

Open the writing shelf. All 8 samples, in three groups, each one published whole.

08 About

About and contact

I am a writer and director working out of Athens, Greece. Most of my time goes on generated stills and film for brands that need volume: product sets, creator ads, explainers and the scripts under them. The rest goes on building the lines that produce them, so a team can run the work after I leave.

Based in Greece, working internationally. Off duty it goes on travelling, screenwriting, training and reading, roughly in that order and rarely in that proportion.

09 Questions

Questions

  • What does an AI-enabled marketing designer actually do?

    Three things, usually in this order. Design the campaign, which means the angle, the script and the look. Produce it, which means the stills, the film and the copy that carry it. Then build the line that makes the next one cheaper than the last, so a team can run the work without me in the room.

  • Do you replace a creative team, or work inside one?

    Inside one. The pipelines on this site are built to be handed over, and the control gates in them exist so that somebody else can run the line and know when to stop it. A person signs off the brief and the final cut at any volume, which is the one rule none of the seven pipelines is allowed to skip.

  • Are the images on this site photographed or generated?

    Both, and each one says which. Generated frames are labelled as generated, spec work is labelled as spec on the card and in the header, and client photography is labelled as client photography. The labelling is the argument, not a disclaimer attached to it.

  • How do you stop generated work from looking generic?

    By never starting from an empty prompt. Every line loads something first: a brand voice file, a trained identity, a master product plate, a series bible. And every line ends at a gate that can reject the output, which is the part most workflows leave out and the reason theirs drift.

  • What do you build with?

    Claude Skills and Claude Code for the operating layer, connected through MCP servers to whatever the client already runs. Higgsfield, Seedance, Veo and Kling for motion. Nano Banana Pro and GPT Image 2 for stills. ElevenLabs for voice. Figma Make when a pipeline has to become something a client can operate.

  • Do you write, or only produce?

    Write first. Direct response and VSL scripts, hook batteries, long-form editorial and ghostwritten posts in a founder’s voice. Samples of each are published on this site in full. Nothing here is offered on request.

  • Where are you based, and do you work with teams elsewhere?

    Greece, and yes. The work has never depended on which city the desk is in: the clients on this site are spread across several countries, and the pipelines were built to run asynchronously because that is the condition they were built under.

  • How does an engagement usually start?

    With a conversation about the constraint. The deliverable comes out of that. Then either a single piece of work with a fixed scope, or a mapping session that ends in a pipeline your team owns. Both start the same way, and the fastest route to one is a message.