Cinematic Short Film Production
I build worlds around brands. My films are micro-stories shot with cinema-grade gear, designed to hold attention through mood, pacing, and sound.
A short film inspired by Hitchcock, shot for Apple. The concept was to see what the master of suspense could do with an iPhone 16. We used ProRes Apple Log at high frame rates for that slow-motion drama and edited in Final Cut Pro.
A project for Victorinox on Wall Street. We created a narrative around a classic character, using iconic NYC locations to build a timeless feel. The focus was on capturing the details, from the watch to the texture of the city.
A short story for Banana Republic, following a shopping day in the city. The film captures candid moments between friends, integrating the brand into a natural, everyday narrative.
This short film for Sézane captures the feeling of meeting a friend in the city. Shot on the Sony a7SIII with 85mm and 35mm GM lenses to create a soft, cinematic look that feels like a memory.
A moody piece shot for the Mercer Hotel. The film follows a character through SoHo and into the hotel, using shadows and architecture to create a sense of quiet luxury and intrigue.
A New York love story inspired by the opening scene of 'Meet Joe Black'. The film uses classic cinematic framing and pacing to tell a simple story of a chance encounter. The handwriting effect was created in Final Cut Pro on the iPad.
Titled 'The Commuter', this short film follows a character on the Staten Island Ferry. It's a simple narrative that uses the journey and the iconic skyline to create a portrait of a New Yorker.
An experimental fashion film. We contrasted a high-fashion gown with a gritty, graffiti-covered alley in NYC to create a visually jarring and memorable story.
Inspired by classic detective shows like 'Murder, She Wrote', this film uses a dramatic, autumnal location to build suspense. The drone shot creates a sense of scale and isolation, leaving the story open to interpretation.
About Cinematic Short Films
I handle the full production pipeline, from initial script and storyboarding to final color grading. I do not just shoot raw footage; I build a specific mood using cinematic lighting, sound design, and film emulation grading that makes a commercial feel like a narrative piece.
My approach to video is closer to filmmaking than standard commercial videography. Every project starts with a concept—a micro-narrative that puts the viewer inside your world.
The Workflow
- Pre-Production: We define the aesthetic before the camera turns on. We align on the visual tone, whether that's classic suspense, romantic drama, or urban grit.
- Filming: I shoot primarily in Apple ProRes Log using Sony Alpha or Leica systems, ensuring high dynamic range for professional post-production. Depending on the brief, this includes gimbal work, drone capture, or underwater rigs.
- Post-Production: I edit in Final Cut Pro. I focus heavily on sound design and color grading to create a consistent, cohesive look that aligns with high-end editorial standards.
Why This Matters
Most brand videos feel like ads. My goal is to make content that feels like a story. By using 10-bit color, high frame rates for slow motion, and careful pacing, I create assets that work for social media and larger campaigns. Whether you need a 15-second cut-down or a full 60-second narrative film, the production quality remains the same. I am based in New York but travel globally to shoot on location. If you have a specific location in mind, let's talk about how to light it.
David Courbit
I'm David, known as Jetlag. I'm a filmmaker and photographer based in NYC, obsessed with classic cinema and moody lighting. My work is about telling a story rather than just selling a product.
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