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Featured Brand Films & Luxury Commercials

byAshish GurbaniStudio in Pune; Travels across India for projectsStarts from90,000 per campaignView full gallery

A curated look at my journey from directing luxury brand commercials to crafting my own short films. This is where concepts meet the screen.

Directing Salman Khan for the Jacob & Co. timepiece collaboration was a milestone moment. This shot captures the calm focus of the set, a culmination of meticulous planning for a high-stakes celebrity and luxury brand campaign. It represents my ability to deliver under pressure while working with top-tier talent.

This brand film for The Westin Goa and Marriott Bonvoy captures the essence of a luxury beach escape. My direction focused on creating a clean, cinematic feel that tells a story of relaxation and freedom. This is a prime example of the lifestyle brand storytelling I specialize in, from concept to final cut.

This is the trailer for my first short film, "CHIPS TO DIE FOR," a project I wrote, directed, and produced. Shot in Prague, it's a satirical look at agency life and creative burnout. It showcases my ability to develop a narrative from a simple idea and manage the entire filmmaking process from start to finish.

We created this modern interpretation of 'The Last Supper' for a hotel shoot, going beyond the original brief. This image demonstrates my skill in directing a large group of actors to create a specific, complex mood. It highlights my experience in conceptual photography and managing a full production team, including stylists and set designers.

This reel takes you behind the scenes on various shoots, from studio sessions to travel assignments. It shows the energy, teamwork, and collaboration that are central to my process. You get a glimpse of the planning, the on-set direction, and the partnership with my crew that makes it all happen.

About Featured

Whether we are shooting a high-end luxury campaign or a quirky short film, my process is always the same: obsessed planning followed by a collaborative, high-energy set. I do not believe in fixing it in post, so we build the cinematic mood—from the specific lens choice to the set design—right in front of the camera to make sure the final result feels authentic.

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