byFD is what happens when no one is watching — where raw ideas take shape.
Brutalist. Minimal. Anti-trend. Built without compromise.
Back to www roots. Functionality as aesthetic.

Film, music, design, and code as forms of expression — personal projects fueled by passion, with just enough teeth to make a living. They're built with sweat, not capital.
It's a bet on niche over noise, on quality over quantity, on doing it yourself when the doors stay shut.
Some do it by the book, some break the rules — I write my own.

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If you care more about metrics than meaning — this isn't for you.
If you want something that hits where it hurts — let's talk

aegir studio / the edge

Filmmaker by trade for over 20 years. I originally created Aegir Studio as a platform for my freelance film work — my "style" is sober yet powerful, genre-driven visual narratives. Cut from the old, letting light, sound, and movement drive the story through cinematic aesthetics and technical artistry — while channeling intense, immersive energy and innovative visuals with a bold yet thoughtful approach.

While commercial work remains a core activity, Aegir Studio also serves as the vehicle for my personal filmmaking aspirations—stories that don't fit the corporate mold. This new chapter began with The Edge, my debut feature film. The project is being developed independently, and any support via direct donation is essential in helping bring it to life.

jōhatsu

I’ve been screen-printing for over 15 years as a creative outlet. It led in 2024 to Jōhatsu, a one-man brand focused on graphic tee shirts, craftsmanship, and ethical values, launching it in 2025. Inspired by D.I.Y. culture, minimal aesthetics, and a punk ethos, it allows me to create free from external constraints.

A portion of proceeds supports mental health initiatives, and garments not meeting quality standards are donated to local homeless charities.

Naming the brand Jōhatsu was intentional; it’s a Japanese term meaning “evaporation,” often used to describe people who intentionally disappear to escape personal struggles or societal pressures. To me, it represents the act of stepping away from an old life and beginning again with a clear purpose.

skrean

I built Skrean because genre cinema deserves more than a forgotten category. It's a niche VOD platform I coded from the ground up—a curated home for the indie horror and cult thrillers that defy the mainstream, launched with Public Domain classics.

From here, the roadmap is to grow. Skrean will feature exclusive indie content—from shorts to features—and curated director retrospectives. The ultimate goal is to produce and distribute original films specifically for the platform, including my own.

As a filmmaker with the tech savvy to build my own platform, Skrean is my answer: a space designed to champion the movie, not just the metric.

bl34k

bl34k is a music project that blends trip hop, lofi, future garage, and a DIY spirit into a cinematic soundscape. Each track mixes atmospheric vibes with raw energy, moving between melancholy and intensity. It's a side project, more of a personal outlet — maybe one day I’ll share some of it.

my story (if it matters)

2007

After years inside the machine — commercial shoots, music videos, polished frames sold to polished clients — I walked out.
Don't get me wrong, I loved it but my head was full of cinema, the kind that bruises.

Started freelancing under Drublik. Shot what I could. When I wasn’t behind the camera, I was elbow-deep in ink and mesh — screen printing. Fell hard for the process. Launched a zine. Built a micro-label called Rawtee.

The personal projects — the films — never made it past development. Too expensive. But the gigs for Drublik came in. Rawtee took off. It looked like I’d made it — in my own crooked way.

2009

First time in Berlin. Something cracked open. The city had that cracked-lens energy — raw, beautiful, unfinished. The scene pulsed underground. I knew I had to be there.

It took years. By 2017, I finally moved. And that’s when the reel jammed.

2017

Berlin didn’t roll out the red carpet. The video work dried up. I buried Drublik. Folded Rawtee. Took whatever jobs I could get — short contracts, agencies, production houses. Learned fast. Burned faster.

I was gaining experience, but bleeding time. And the clock doesn’t pause for passion.

2021–2023

Illegally fired—only to discover that the company had paid none of the legal, tax, or health contributions required for my job. The system came for me instead. Even after a court ruled in my favor, I was left with a piece of the debt. It was too much—a weight I still carry today.

Eventually found a new job — a good one. Fair company. Honest people. Still in video, though far from where I started. But I was already running on fumes. Debt up. Spirit down. Rock bottom. No cutaway.

2024–2025

At my lowest point, I had to sell my camera and most of my gear to pay bills—I even stole food to survive. But I never quit.

Instead, on the ruin of Drublik, I built Aegir Studio and I wrote. I wrote a feature script called The Edge. A long shot — but real. Crafted with intention. Built for low-budget independence. Designed to turn constraints into strengths. A true expression of my aspiration

The crowdfunding flopped. Doesn’t matter. I’m still building it. Stubborn brick by stubborn brick. This film will live. At any cost.

I’ve returned to screen printing. Slowly. Quietly. End up starting Jōhatsu.

And somewhere in the cracks, the code started flowing. I’d trained in it, back in the day. First, small video tools. Then a bigger idea surfaced:

A niche streaming platform called Skrean. A dark corner of the web for horror, for genre — for the films that don’t beg to be liked. They demand to be felt.

I want to release The Edge there. Maybe yours too.

Keep going. Not for applause. For survival.