CHOOSE YOUR HERO
Since 2022, Jordan has been at the frontier of generative media — turning diffusion models, language models, and neural video into production-grade creative tools. Not a hobbyist. Not a prompt merchant. A working creative who bridges the gap between what AI can do and what clients actually need.
OpenAI Super Bowl
THE BRIEF
When OpenAI needed a Super Bowl spot that didn't look like every other AI ad, they came to a team that understood both the technology and the craft.
THE PROCESS
Generative video at broadcast quality means hundreds of iterations, careful prompt engineering, and knowing when to push the model.
THE CRAFT
Every frame was graded, stabilised, and composited like traditional VFX. The AI generated the impossible; the edit made it believable.
THE CUT
Thirty seconds that needed to feel handmade. The edit rhythm was everything — too fast and it feels like a tech demo, too slow and you see the seams.
THE RESULT
120 million viewers. Zero uncanny valley complaints. The spot that proved generative video belongs in broadcast.
Kettama: Sort It Out
THE VISION
A music video made entirely with generative video. Not a gimmick — a genuine creative choice that served the track's surreal energy.
THE METHOD
Shot reference on an iPhone, then fed through multiple diffusion models. Each pass transformed the material further from reality.
THE ITERATION
Over 2,000 generations across three weeks. The best takes were stitched, time-remapped, and graded like any other music video.
THE EDIT
Cut to the beat, with transitions only generative video can do — one reality melting into the next between cuts.
THE RELEASE
Released on Island Records. Featured in Creative Review's top music videos. Proof that AI tools in the right hands make art.
Chase Sapphire Reserve
THE CHALLENGE
Premium brand, premium audience, zero tolerance for anything that looks "AI-generated".
THE APPROACH
Hybrid pipeline: live-action composited with generative backgrounds and transitions. The AI was invisible.
THE DETAIL
Every metal surface, every liquid pour, every fabric fold reviewed frame-by-frame.
THE ASSEMBLY
The edit brought practical footage and AI material together seamlessly. Colour science was critical.
THE DELIVERY
Delivered across social, CTV, and cinema pre-roll. The client never asked which shots were AI.
BBC Three Documentary
THE COMMISSION
Feature-length documentary for BBC Three. Six months of footage, forty hours of rushes, one editor.
THE STRUCTURE
Finding the story in forty hours of vérité footage. No script, no narration — just characters shaped into three acts.
THE RHYTHM
Documentary editing is patience. Knowing when to let a moment breathe and when to cut.
THE SOUND
Working with sound design to build atmosphere from location audio. Every room tone placed deliberately.
THE BROADCAST
Aired on BBC Three to strong reviews. Raw material becoming something true.
Island Records Sessions
THE SETUP
Live session recordings for Island Records. Multiple cameras, one take, no safety net.
THE MULTICAM
Five cameras, one performance. The edit is a live mix — following music, anticipating the chorus.
THE FEEL
Music video editing is about rhythm. Not metronome rhythm — feel rhythm. That's where the magic is.
THE GRADE
Warm, analogue, slightly blown-out highlights. A memory of seeing the artist live.
THE PLATFORM
Published across YouTube, Spotify Canvas, and social. Each platform got its own edit rhythm.
Nike Training Series
THE PACE
Six-second hooks, fifteen-second stories, thirty-second spots. Every frame earns its place.
THE MOTION
Athletic movement at 120fps slowed then cut at full-speed impact moments.
THE BRAND
Nike has a visual language. You don't reinvent it — you speak it fluently.
THE TURNAROUND
Offline to online to delivery in 48 hours. Speed without sacrificing craft.
THE CAMPAIGN
Twelve pieces across three platforms, cut in one week. On brand, on brief, on time.
Tentacle Collective
THE COMPANY
Founded Tentacle as a creative production collective — a group of makers who direct, shoot, edit, and deliver.
THE MODEL
Small team, high trust, fast turnaround. No account managers, no layers between creative and client.
THE WORK
Music videos, branded content, documentaries, live events. The range was the point.
THE CULTURE
A studio in Hackney where the edit suite and the brainstorm table were in the same room.
THE LEGACY
Seven years of production. Hundreds of projects. The company ended; the collective didn't.
The ONMO Sessions
THE STAGE
Multi-camera live performance capture. Four cameras, live switching, simultaneous recording.
THE DIRECTION
Directing live means decisions you can't undo. Every call is final.
THE ENERGY
Live performance energy that studio work doesn't have. The director bottles it.
THE POST
The live switch is the rough cut. Post-production refines.
THE ARCHIVE
A record of a moment in London's music scene. Directing time itself.
Short Film: Meridian
THE SCRIPT
Experimental short about time, memory, and the Greenwich meridian. Two years writing, three days shooting.
THE CAST
Two actors, no dialogue, twelve locations along the Prime Meridian.
THE SHOOT
Guerrilla filmmaking. Natural light only, handheld, long takes.
THE EDIT
Linear footage transformed into non-linear memory. Time becomes unreliable.
THE CIRCUIT
Three festivals. Screened at the BFI. Made because you have to, not because anyone asked.