Cinematic storytelling for projects that want more than just content.
Whether it’s a festival, a campaign or a travel project: I help you turn raw footage into a cinematic story that people don’t just scroll past – by finding the thread between scenes, slowing down at the right moments and keeping the focus on what really matters.
If you have material that deserves more than a quick cut, you’re in the right place.
What you get with cinematic editing
On this subpage, everything revolves around one thing: manual video editing. No “auto-cut” that tries to assemble your film at the push of a button, no generic templates that put the same grid over every project.
Instead, you get someone who actually watches your footage, understands what is behind it – and shapes it into a clear, coherent film.
- Documentary perspective instead of a polished-but-empty commercial look
- Focus on people, atmosphere and context – not just on hero shots
- Technical quality in image, sound and subtitles that can hold up on a big screen, not only on a phone display
Selected works & planned slots
Six slots for manual editing pieces – some already finished, others reserved for projects that are currently in production or planned. All of them: edited by hand, without generative video AI.
A multi-day music festival on the south coast of Crete: the film opens with the famous neolithic caves of Matala, where hippies and dropouts were living around 40 years ago, before moving to the stage, live performances and the bay itself. The edit and rhythm aim to capture the feeling on site – between history in the rocks and the energy on stage, even when the camera often stays close to the performance.
Watch video →A vertical 9:16 clip created to raise awareness of the human rights situation in Iran and to express solidarity with rap artist Toomaj Salehi and the Women Life Freedom movement. On 24 April 2024, he was sentenced to death for his anti-government songs and his support of the protests – a sentence that sparked international outrage. After sustained pressure, the death sentence was overturned and Toomaj has since been released. The edit keeps the focus on his message, the movement behind him and a clear call for universal human rights.
Watch video →A live session from Europe’s southern external border: the island of Gavdos. Not quiet background music, but rebellion, joy of life and a longing for a fairer world for everyone – captured in a mix of closeness, openness and rough surroundings. The edit emphasises the tension between the place, the music and what resonates underneath.
Watch video →Reserved slot for a future short documentary: a project where one person, place or initiative is told in 3–5 minutes. The idea: interviews, everyday moments and environment come together in a quiet but clear narrative arc.
Planned – ask for details →A teaser for KaizenTravel: travel footage from Colombia with a focus on atmosphere, people and the feeling of being on the road. Instead of stringing together postcard shots, the edit connects movement, encounters and pace so that you briefly feel like you’re travelling along.
Watch video →Reserved slot for a project where one longer film is the core – and several social clips are cut from it in a targeted way, for Instagram, TikTok or LinkedIn. The goal: one strong core piece plus short, precise excerpts that work on their own while still serving the same story.
Planned – ask for details →All examples on this subpage stand for fully manually edited work – without generative video AI. On other subpages I show how AI and automation can support the process where it actually makes sense.
How I approach an edit
For me, a good edit is more than “cutting down” material. I first look at what is really there – and what the story could be that is already hidden in your footage. From there, we move forward step by step.
- Rhythm: how images, pauses and cuts feel – not just in sync with the music, but in sync with the story.
- Story arc: where we start, what we leave out, which moments we hold – and what only slows things down without adding anything.
- Sound: combining ambience, speech, music and silence so that the film carries itself without shouting – especially important in documentary work.
- Visual tone: colour grading, contrast, light and grain in a way that fits the mood, the topic and your values.
Typically, we work with clearly defined editing phases (rough cut, fine cut, final version) so you know where we are – and feedback can flow in deliberately instead of getting lost in endless loops.
Who this offer is for – and who it isn’t for
This is a good fit if…
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…you want to show something real.
NGOs, initiatives, small brands or self-employed people who want to show real people, real places and real topics – even if not everything is lit like in a studio. -
…you already have footage (or will have it soon).
You have recordings from a festival, campaign, project or trip – but no one who can shape it into a clear, moving story. -
…you care about attitude & atmosphere.
It matters more to you how the film feels and what it carries than whether every second matches a current ad template.
It’s probably not a fit if…
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…you’re looking for a classic agency setup.
Big team, multiple layers, several departments – that’s not me. I work deliberately small, direct and personal. -
…you mainly want trend effects and templates.
If the focus is primarily on flashy effects, micro-trends and interchangeable transitions, a documentary approach will usually not be the right match. -
…everything has to be extremely fast and extremely cheap.
Quick social cuts are possible, but a coherent, well-built film needs time and attention. If there is no room for that at all, it will be difficult to make something solid.
Frequently asked questions
Which video formats can you work with – and what about WhatsApp?
I can work with most common video formats and codecs – ideally the original files directly from camera, smartphone or recorder, for example via Nextcloud or another cloud upload.
What doesn’t work well: heavily compressed WhatsApp videos. They often introduce artefacts, can cause issues in the edit and limit what we can do visually. Whenever possible, we should work with the original files instead.
How many feedback rounds are typical?
In practice, up to around four clearly defined rounds work well:
- Rough cut with first feedback
- Updated version with fine-cut feedback
- Detail adjustments
- Final technical version (export check, last tweaks)
If you need more rounds, we can agree on that – but I strongly recommend bundling feedback so the process stays focused and transparent for both sides.
Can you also do the filming yourself?
My main focus is editing. I can support smaller, mobile shoots with a lightweight setup – for example to capture additional scenes, B-roll or specific statements.
For larger, more complex productions I prefer to work with camera people or teams that are on site in your region or country. That way, image quality stays where it should be – and I can fully focus on structure, pacing and story.
How long does a typical project take?
It depends on the scope, of course – but as a rough frame you can expect around one week (about seven days) from green light to the final version.
If there is a lot of footage, multiple versions or a tight deadline, we’ll plan more time or a very clear timeline together.
Let’s see what’s hidden in your footage.
You don’t need a perfect brief or storyboard. A few sentences about your material, the context and what you want to achieve are enough to start.
We can start with a simple conversation.
If your project needs a more human, cinematic perspective – and editing that doesn’t feel like “just another cut” – send me a few lines and we’ll see if it makes sense to work together.
Email or call – whatever suits you best.
You can send me an email about you, your project and your current setup – in English or German.
Write an emailIf you prefer to talk, we can schedule a short video call in English or German – for example via Zoom or in a private Rocket.Chat room.