As long as I can remember, I’ve been working with cameras.
In my teenage years, I was already making stop-motion films with a borrowed camera — one my father had borrowed from a colleague at work. Back then, cameras were expensive and not something everyone owned.
When cameras became more accessible, I bought my first Hi8 camera, followed later by a Digital MiniDV. I filmed everything I could — especially live shows and backstage footage of the band I was part of at the time. This resulted in hundreds of tapes, both Hi8 and MiniDV.
Around 1998–1999, with the rise of digital video editing on computers, I created my first music video — for my own band. I had to figure everything out from scratch, including syncing the footage to the music. At the time, these tasks were so demanding that my computer couldn’t render the video in one go. I had to export it in one-minute segments and stitch everything together manually. Consumer-level digital editing was still in its infancy — something that’s almost impossible to imagine today.
I continued making music videos, and other bands started reaching out. I worked with acts like Severe Torture, Thanatos, and Houwitser — all shot on a Hi8 camera and captured through a video capture card.
My first international music video was for Power Symphony in Italy, around 2001. At that point, I still had a regular job and shot videos on weekends.
In 2003, I went fully independent. After directing two music videos for Exodus in San Francisco, I was invited to the headquarters of Nuclear Blast in Germany — one of Europe’s leading metal and rock labels. That meeting led to a long list of projects, working with bands such as Gorefest, Wintersun, Omnium Gatherum, Primal Fear, Orphanage, Disbelief, Kataklysm, and Scar Symmetry.
I also directed and produced multiple DVD releases for bands including Laaz Rockit, Heideroosjes, Agent Steel, Edguy, Macabre, Marduk, and Behemoth.
Over time, my services have expanded — but my core passion has always remained the same: creating music videos for metal.