TaKeTiNa®
Rhythm for Evolution — Bavaria, Germany
Cinema for brands that value integrity
From personal portraits to purpose-driven brand films
Beyond visuals, towards coherence
I tend to work with people and organisations who already carry responsibility.
Projects where decisions matter, where time is limited, and where things don’t unfold twice.
My approach is practical, calm, and attentive to context.
I don’t add meaning that isn’t there, and I don’t simplify what needs care.
Most of the work happens in how situations are read, how people are met, and how choices are made under real conditions.
A nice image can still be dishonest
Most projects don’t fail because of missing visuals.
They fail because something essential gets misunderstood early on.
I value taking time to understand what you’re actually working on –
not just what it looks like from the outside, but how it functions, what matters, and what should remain untouched.
The goal isn’t to add a layer of image.
It’s to translate what already exists into a form that feels accurate.
Some decisions don’t like improvisation
Commercial work often comes with tight timelines, many voices, and real consequences.
I’m used to making clear decisions when things get complex,
keeping the process calm when others get nervous,
and carrying responsibility without turning it into drama.
You shouldn’t have to manage the filmmaker.
You should be able to rely on him.
”People do not buy goods and services. They buy relations, stories and magic.
Seth Godin
Selected Films
made with love
Hangab
Portraitfilm — Chiemgau, Germany
Animal Sanctuary
Imagefilm Tenerife Horse Rescue — Tenerife, Canaries, Spain
NavaKala
Band Promotion for Festivals — Chiemgau, Germany
Crowdfunding Album
Stephan Mader 2024 — Emmental, Switzerland
Enough structure to let go
Each collaborations is different, some work best with close alignment. Others need more space and I’m receiving a lot of trust.
I’m also comfortable working within existing structures, and just as comfortable taking the lead when it’s helpful.
What matters is that you don’t lose control — and don’t have to micromanage either.
Good work happens when trust and clarity meet.
Selected Images
Still imagery created for brands, institutions, and individuals who care about how they are seen — and why.
Work that holds over time
Trends move fast. Images stay.
I’m interested in work that still feels right once the campaign is over, once the launch has passed, once the excitement has settled.
That’s why I focus less on what performs loudly and more on what remains coherent over time.
Some stories need more time, more listening, and a different kind of depth.
On the Journey with
Everything you need to know
What kind of projects do you take on?
I work with brands, institutions, and individuals who carry responsibility for what they put into the world.
That can be a personal (video-)portrait, a brand film, an educational format, or a larger commercial project.
I’m not interested in work that asks me to present something as meaningful, beneficial, or truthful when it clearly isn’t.
Beyond that, labels matter less to me than integrity, clarity, and intent.
If a project requires care, a shared vision, it’s usually a good place to start.
Why film — and not just photographs?
Photography and film serve different purposes.
A photograph can capture a moment clearly and precisely.
The unique thing about it Film is:
It shows how things relate to each other, how they change, and how they are experienced. Through film we sense emotions and feelings stronger.
That difference is often what creates trust.
Also: a film has a beginning and an end.
It offers orientation and a narrative structure that helps people understand what they are seeing instead of just reacting to it.
This is one reason why film is often perceived as more credible than isolated images.
On an emotional level, film comes closer to how people experience real situations.
We encounter others through movement, voice, pauses, and timing.
Film works with these elements, while photography deliberately removes them.
Because of this, film requires more care.
It takes more time, more preparation, and a higher level of responsibility.
Don’t get me wrong: In many many cases, when the goal is to illustrate or decorate, photography is often sufficient.
Thought if the goal is to communicate meaning, convey trust, or guide an audience through a message, film is usually the stronger medium.
Not every project needs that level of investment.
But when it does, the difference is noticeable.
Do you work internationally?
Yes.
My work regularly takes me across countries and continents.
I’m used to working across time zones, cultures, and production contexts…
Travel is not an exception in my work, over the years it almost became part of my life.
How involved are you in the process?
That depends on what the project needs.
Some collaborations work best with close alignment and shared decision-making.
Others benefit from clear delegation and trust.
I’m comfortable working within existing structures, and just as comfortable taking responsibility when that’s helpful.
Do you direct, or do you stay in the background?
Both, depending on the situation.
Sometimes the best work happens by staying out of the way.
And other times people need orientation, reassurance, or a clear frame to feel at ease and authentic in front of the camera.
I wouldn’t call that directing in the classical sense.
It’s more about recognizing what helps a situation unfold naturally… and when intervention actually gets in the way.
Do you work with teams or solo?
Both.
Many projects I handle as a one-person setup, in collaboration with a trusted editor.
For larger productions, I work with trusted collaborators and scale the team as needed.
If this resonates
If you’re carrying an event or a gathering
that matters beyond the surface,
feel free to reach out.
A brief exchange is often enough
to sense whether it’s aligned.