Reel

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

I handle the strategy, the production and the line between them.

My work covers content and growth, creative production and GenAI workflows. The output includes films, product sets, adverts and websites.

I plan the campaign, build the working system and make the finished work. The films, product sets, websites and copy come from the same desk.

A photo of me.
Me, Myself and I
01 Reel

Reel

The showreel cover: an illustrated portrait of me pointing at camera over a night city, surrounded by an edit timeline, a clapperboard, a camera body and a growth chart, under the word SHOWREEL in yellow brush type.
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 Content & Growth Strategy, fully functioning SEO & AIO optimised website 2026

Strategy, build and copy for a synthetic media studio, on a site where every claim 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

One live website, one film shoot and more than ten social adverts.
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

Two hero films, four model checks and a ten-second public studio cut.
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 2025

Paid-media spend fell by 60%. Followers grew 10% in three months, and user acquisition rose 20%.
An Amino Alliance pouch on a laboratory bench with a glowing atom symbol beside it, lit from behind.

Amino Alliance Client 2025

Three public cuts, three reusable presenters and 42 seconds of finished vertical video.
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

Four consortium films, one solar-park shoot and an illustrated attack sequence for an unfilmable event chain.
UGC spokesperson Jarfis Property Group

Jarfis Property Group Client 2026

Two Bali listings, one cloned client voice and a ten-second public vertical cut.
Two wide-eyed cartoon trains meet head on above a level crossing while their drivers lean from the cabs and the word ΜΠΑΜ fills the sky.

Elladistan Spec, self-initiated 2025

My lyrics, a Suno cartoon theme and a vertical short built with Nano Banana, Grok Imagine and CapCut.
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 built to test whether an episodic production system can hold a dialogue scene for 107 seconds.

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 107-second comedy scene built to test whether an episodic production system can hold two characters through dialogue alone.
04 Product

Synthetic Product Ad Shoots

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, taut thread and a grip that holds the folded material in place.

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

Fully published writing samples and scripts. 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

Built around the questions people type, with enough detail for a working marketer to use the answer.

Topics include generative-video costs in 2026, advertising labels under the EU Artificial Intelligence Act and the use of a master plate across a hundred product shots. Every article cites its sources.

Read them

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

08 About

About and contact

My background covers marketing, communications, business development and filmmaking. I am happiest with a loose brief, a difficult production problem and responsibility for the finished piece.

I am looking for a role where I can own the work from first idea through delivery, learn from a sharp team and keep building things that people can watch, read or use.

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 a GenAI marketing designer do?

    I design the campaign, produce the assets and build the working system behind them. That can cover the angle, script, visual direction, film, stills and copy. I also document the process so a team can run the next piece without me in the room.

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

    I work inside creative teams and can also take ownership of a defined production. The documented stages and control checks make handover clear. A person still signs off the brief and final cut at every volume.

  • Are the images on this site photographed or generated?

    The site contains client photography and generated frames. Each image says which, and every self-initiated project carries a spec label on its card and page.

  • How do you stop generated work from looking generic?

    I begin with a source: a brand voice file, trained identity, master product plate or series bible. Written checks then decide which frames stay in the job. The rejected work goes back to its source plate.

  • What do you build with?

    Claude Skills and Claude Code handle the operating layer. Higgsfield, Seedance, Veo and Kling cover motion; Nano Banana Pro and GPT Image 2 cover stills. I use ElevenLabs for voice and Figma Make for client-facing tools.

  • Do you write, or only produce?

    I write direct-response and VSL scripts, hook batteries, long-form editorial and posts in a founder’s voice. The writing shelf publishes a full sample of each format.

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

    I work from Greece with clients in several countries. The production systems support asynchronous reviews, shared source files and clear approval points.

  • How does an engagement usually start?

    We start with the brief, the constraint and the person who signs off the work. From there I can scope a single production or map a repeatable pipeline for your team. Send me a message with the job and its deadline.