Music Videos: From Mumbai Streets to LA Studios

Music video production is where I built everything. Before brand films, before 3D pipelines, before real estate photography — it was music videos shot guerrilla-style on the streets of Mumbai with no budget and no crew to fall back on. That foundation shapes how I work today: fast decisions, strong instincts, and the ability to execute the full pipeline alone.

Where it started: Mumbai

Bombay Bounce - Quest ft. Tienas was my directorial debut. Shot over 3 days across South and Central Mumbai, from the Dhobi Ghats and abandoned railyards to graffiti parks and bustling streets. No budget. Stripped-down crew. The city became the set. Every decision was driven by location scouting and pure instinct, blending real environments with stylized VFX to match every beat.

West Side Boys - Mumbai is a Drug, Always on High: street-level observational shooting focused on raw city texture, rhythm, and motion layered with color grading and subtle VFX. Urban Dawg - Bombay City pushed it further, co-directed with ADR Format, using motion blur, time-lapse, and ambient layers to capture Bombay's chaotic beauty as a documentary-inspired piece.

IRAN by Sikander Kahlon: VFX supervision and post-production enhancing tone and intensity while preserving the raw edge of the performance. 100RBH - Bol Bala sharpened my on-set discipline managing logistics, props, and timing while supporting direction. LIFAFE: shot in a confined Mumbai slum setting, an intimate story about a daughter and father after loss where the space pushed every creative decision.

Los Angeles: same approach, different context

Jazz June - Home Is Where The Weird Is was shot in LA in a single day. The artist wanted something trippy and colorful. I directed, shot, edited, and handled VFX from start to finish. Cappers Anonymous - Jazz June: a noir video built on stark contrast lighting, vintage textures, VHS static, time distortion, and TV-style lyric motion graphics.

Hotel Cali, shot in San Diego and Carlsbad: clean compositions, mood lighting, cinematic motion. Dye My Hair - LAVI and Foenix: post-only VFX adding stylized gunshot effects without overpowering the edit. Hashbass x Warren Mendonsa - Infinite Worlds: full 3D environment built for CG inserts blended into live-action footage. DREAM BOOK ANTHEM SONG ft. Karanvir Bohra: color grading and post polish aligned to the anthem's tone.

Road-trip visualizers: Sedona, Carmel, Money Trees

Sedona Drift: climbed and explored red rock landscapes capturing cinematic B-roll synced to music. Carmel Beach: natural light and pacing transformed a coastal location into emotional atmosphere. Money Trees: the full drive from San Diego to Carmel captured as an observational, rhythm-driven road film.

What stays consistent across all 14

Every project ran through the same pipeline: I directed, shot, edited, color graded, and handled VFX. Nothing outsourced. When one person controls every stage, the visual language stays coherent from first frame to final export. The edit informs the color. The color informs the VFX. The VFX serves the performance. That chain only works when it's unbroken.

If you're an artist or label looking for a music video director in Los Angeles who handles the full production pipeline, reach out or submit a project brief directly.