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Who leads the work.

Most of this site is the work. This page is who makes it, and how, which matters more when you're handing someone a film, a launch, or a story about your business.

Mike, founder of RNGD Visuals

Mike.

I'm a photographer, cinematographer, and colorist based in Nairobi, and I'm the lead creative director on everything RNGD Visuals puts out. I head production on every project: I'm on the call, I'm on set, and I'm in the grade.

I don't work alone. There's a team behind the work: second operators, assistants, editors, and talent we bring in as a shoot needs them. What doesn't change is who is steering it. Every job runs through one creative lead from the first conversation to the final file, so the thing you pictured doesn't quietly turn into something else halfway through.

That's the reason RNGD Visuals exists. Too much work gets shot by one person, cut by another, and graded by someone who was never on set, and it shows. Keeping the whole chain under one direction is how the intent survives.

Most of what we do now is ongoing: hotels, restaurants, and product brands that need a steady stream of work rather than one shoot a year. But the projects I care most about are the longer ones: documentary and brand films where you get to spend real time with a place before you understand what the story actually is.

The work speaks, but so does this.

10+Brands worked with
6Of them on ongoing monthly retainers
5yrsBehind the lens in Nairobi

The retainer number is the one worth paying attention to. Anyone can shoot a good set of images once. Six brands choosing to keep the same production partner on every month is a different signal.

What working together looks like.

01 · The call

Twenty minutes with me, not an account manager, to hear what you're making and why. If we're not right for it, I'll say so on that call rather than three weeks later.

02 · The plan

A shot list and a schedule before anyone picks up a camera. I write the treatment and set the look; for bigger pieces that also means locations, crew, and whoever else needs to be on set.

03 · The shoot

One day for most retainer work, more when the story needs it. However big the crew gets, I'm directing it, and you get told what's happening as it happens, not after.

04 · Edit and grade

Cut in-house and graded by me. You see a first version, you get real revisions, and nothing goes out under your name that I wouldn't put under mine.

Easiest way to start is a message.

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