Motion creative generalist based in Stockholm, currently working as a Senior Motion Creative at Åkestam Holst.
SELECT
PROJECTS:
MISSION
TALITA
MISSION TALITA - TALITA
ANIMATION - GAME CAPTURE - EDITING
MAIN TRAILER
For the Mission Talita campaign, I created a trailer for a custom GTA V mod where, instead of exploiting sex workers like in the original game, the player rescues them. The aim was to present a different kind of narrative within the GTA universe, as well as reaching a target group that’s notoriously hard to reach.
The campaign was created for Talita, a Swedish non-profit that supports women who want to leave prostitution, pornography, and human trafficking. Their work is rooted in both compassion and real-world impact, helping women transition to new lives through long-term support programs. With Mission Talita, the goal was to hijack the GTA franchise's massive cultural reach to spark a conversation around how women are portrayed—and mistreated—not just in games, but in society at large.
The creative brief was ambitious from the start: make a trailer so polished it feels like it was released by Rockstar themselves—even though the game is over a decade old. That alone was a huge challenge. But the project got off to a strong start when we quickly managed to get both Sting and Swedish House Mafia on board to contribute music to the film. Their involvement not only elevated the emotional tone of the trailer, but also gave the project an extra layer of cultural weight right from the start.
The first stage of the process involved a lot of trial and error—learning the in-game tools, testing different mods, and figuring out how to get the visuals to look the way I wanted. I installed a mix of graphical and utility mods to help with location scouting, set dressing, and animation workflows. Some footage was screen-captured live, but most of it was done in Rockstar Editor.
A big part of the process was also understanding how the GTA short film community works. It’s a very specific niche, and I spent time researching how people in that space approach filmmaking—how they communicate, what kind of visual language they use, and how they get around the many technical limitations of the game. That community was incredibly helpful.
We started with a basic outline edit, pieced together with found footage from YouTube, the music provided by the artist, and sound effects to get a rough idea of structure and pacing. Then I spent a lot of time building and recording all the scenes in GTA V, and handled the editing, post effects, and some color grading in After Effects and Premiere Pro. For a few shots, I rendered z-depth passes to add extra post effects.
The trailer was a centerpiece of the campaign and played a big role in the buzz it generated. It was picked up widely by press, gaming forums, and social media—and was a nominee at Cannes Lions in the Film category.
ENDING SEQUENCE
A few behind the scenes capture from the ending sequence. Among other things, I rendered a z-depth pass for the transition effect, and to add additional depth of field.
VILLA RAID
This one involved a lot of set dressing and custom character animation to get the action and atmosphere right.
ADDITIONAL ASSETS
I also created some additional assets, like shorter edits for use on social media and specific assets for the campaign site.
SELECT
PROJECTS:
BULLE DE
KANEL
BULLE DE KANEL - PRESSBYRÅN
15 SECOND COMMERCIAL
CO-DIRECTOR - DOP - EDITING - GRADE
For Bulle de Kanel, a campaign for Pressbyrån, I co-directed a spoof on high-end French perfume ads—think Charlize Theron for Dior, but with cinnamon buns. The brief from the creatives was simple: make a perfume commercial, but for a bun. And that’s exactly what we did.
It was a low-budget project, so I took on several roles—co-directing, storyboarding, shooting, editing, and grading. To streamline the process and keep costs down, we shot a rough version of the film on location, which you can also see below. That rough version then became our exact frame-by-frame reference during the final shoot, which allowed us to maintain a high visual standard with a very small team.
PLANNING AND PRE-VIS
During the location scout, I created a quick photoscan of the space, which I used to pre-visualize lighting setups and camera movements. It also helped us plan the production layout ahead of time and ensure that all equipment would fit comfortably on set—without being visible in frame, which was crucial given the limited space we had to work with.
SELECT
PROJECTS:
PAULUNS &
MAX
MAX DONUT
3D asset created for Max’s new launch of donuts. Used both as motion assets and in print.
PAULUNS GRANOLA
One of several social-posters I made for Pauluns granola. Created in Blender using photogrammetry.
FILM
FILM
DoP - DIRECTION - EDITING
Over the years, I’ve worked on a wide range of film projects—from emotionally driven commercials shot on location to music videos for both brands and artists. In pre-production, I often use photogrammetry to build previs environments that help guide the visual planning. For most of the videos below, I have handled cinematography, direction, and editing.
Left: Lighting plan based on the location scan.
Below: Previs created using the same scanned environment.
ANIMATION
ANIMATION
MOTION DESIGN - 2D - 3D
I began working with animation in 2009 at Åkestam Holst, using After Effects to produce case study films. Since then, I’ve created more case studies than I can count—alongside a wide range of other animated projects. In recent years, I’ve also incorporated 3D into my workflow. I enjoy working across disciplines, combining animation, editing, and sound design to bring ideas to life.