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LUX WAGYU HOUSE Customer Testimonial CLIENT Lux Wagyu House CAMPAIGN TYPE Customer Spotlight DELIVERABLES 90s Shorts DIRECTOR Tristan D. Rama OVERVIEW Lux Wagyu House is a premium Wagyu supplier based in Perth, Australia. Their product ends up on some of the best menus in the region — but like most suppliers, the hardest thing to market isn’t the meat itself, it’s the trust that serious restaurants put in them. That’s the story we went to Perth to tell. We filmed two of their restaurant partners — Guy Jefferey and Papi Katsu — each showcasing a signature dish built around Lux Wagyu meat. The format combined real kitchen footage with direct testimonials from the people behind the pass. No scripts, no staged reactions. Just chefs who chose this supplier talking honestly about why, while the food speaks alongside them on camera. The campaign was designed to work as trade-facing content — the kind that convinces another restaurant owner in thirty seconds that Lux Wagyu House is the call to make. When your best salespeople are already on someone else’s menu, you put them in front of a camera and let them close the deal.

MANHATTAN Community Campaign https://youtu.be/N9FhLtY6ODshttps://youtu.be/zL534UwHzE8https://youtu.be/B1FgsS5xSNEhttps://youtu.be/1I-G_Kmys4Ahttps://youtu.be/KP18mwxQ-w4https://youtu.be/EIiSCtTK7e8https://youtu.be/7wH7F-qzJXA CLIENT Manhattan CAMPAIGN TYPE Community DELIVERABLES 30s Short + 5s Shorts DIRECTOR Tristan D. Rama OVERVIEW Manhattan is a restaurant and hangout in Batu Bolong, Canggu, built around one thing the kind of atmosphere that makes people stay longer than they planned. Good food, good company, and a room that knows how to hold energy. When they needed content that captured what actually makes the place worth visiting, the brief was clear: don’t sell the menu, sell the feeling of being there. The reel we produced is 70% people, 30% everything else. Conversations mid-laugh, tables filling up, that particular kind of Bali evening where no one’s in a rush. We shot Manhattan the way you’d experience it not as a dining destination, but as a place you end up and don’t want to leave. The food appears, but it’s never the point. For a venue like Manhattan, the most honest marketing isn’t a beautifully plated dish. It’s a room full of people who chose to be there. That’s the story we told.

SCOOP Brand Launch CLIENT SCOOP CAMPAIGN TYPE Brand Launch DELIVERABLES Stills DIRECTOR Tristan D. Rama OVERVIEW SCOOP is a healthy smoothie bar and café in Pererenan, serving smoothie bowls and clean, feel-good food to a community that takes wellness seriously. When they launched, they had a product worth showing — they just needed a visual identity to match it. With no existing brand imagery to pull from, every frame we shot had to do the heavy lifting of establishing who Scoop is and what it feels like to be there. The project was a full brand launch photography series product-forward, lifestyle-aware, and built to travel across every surface a new brand needs to show up on. From the texture of a smoothie bowl at close range to the light and ease of the space itself, the goal was to create a library of images that felt cohesive, craveable, and distinctly Pererenan without leaning on the clichés that category tends to attract. For a business launching from zero, photography isn’t decoration – it’s the first impression, the menu, the storefront, and the pitch to every potential customer scrolling past. That’s the brief we took seriously.

UMA GARDEN Jazz, Blues & Art of the Table https://youtube.com/shorts/NX_QEa47Fi4?feature=share CLIENT UMA GARDEN CAMPAIGN TYPE Jazz, Blues & Art of the Table DELIVERABLES 90s Shorts DIRECTOR Tristan D. Rama OVERVIEW Uma Garden is a Bali dining destination built around atmosphere where live music, considered food, and the right kind of evening come together. When they wanted to deepen their content presence and give audiences a reason to feel something before they even walk through the door, they brought us in to build a campaign that could carry that energy on screen. The project spans three films. Two capture the venue’s Jazz & Blues Nights live performances shot to feel intimate and alive, the kind of footage that makes you want to be in the room. The third goes behind the pass with their Executive Chef, following the creation of a Wagyu tasting course from concept to plate. Together the films work as a suite: one side of Uma Garden is the mood, the music, the night out the other is the craft and intention behind what’s on the menu. The goal was straightforward but not easy translate a physical experience into content that converts. For a venue like Uma Garden, the biggest competition isn’t the restaurant down the road, it’s inertia. People staying home. These films exist to make the decision easy.

SHUN 旬 Omakase Experience https://youtube.com/shorts/JHm-h4myhxE?feature=sharehttps://youtube.com/shorts/0-mfEHMbD6w CLIENT SHUN 旬 CAMPAIGN TYPE Omakase Launch DELIVERABLES 15s + 90s Shorts DIRECTOR Tristan D. Rama OVERVIEW Most people sit down at a restaurant and open a menu. At SHUN, there is no menu. Omakase, loosely translated as “I leave it up to you,” is a complete transfer of trust from guest to chef. You sit down at an 11-seat counter in Canggu, and Chef Mark Jeremie Oliver takes you through 13 to 18 courses, each one decided by what’s best that day, not what’s easiest to explain. The film was built to introduce that concept to an audience who may have never heard the word omakase, and to go one layer deeper into what separates SHUN from any other Japanese restaurant in Bali. That layer is Jyukusei: a dry-aging technique applied to fish that runs counter to everything people assume about freshness. Aging fish under controlled temperature and humidity for days, sometimes weeks, produces deeper umami, silkier texture, and flavor complexity that just-caught fish simply cannot deliver. Fresh isn’t always best. At its best is something different entirely. The guest experience is the third thread. You sit, you trust, and the story unfolds, crafted in front of you, plated with care, in a space that feels warm, minimal, and intentional. No distractions. Just a chef, a counter, and a sequence of courses that builds into something you didn’t see coming. The campaign’s job was to make people feel that anticipation before they ever booked a seat.

THE EDGE Menu Launch CLIENT The Edge Bali CAMPAIGN TYPE Menu Launch DELIVERABLES 60s + 20s Shorts DIRECTOR Tristan D. Rama OVERVIEW Carved into the rugged cliffs of Uluwatu, The Cave by Chef Ryan Clift is Bali’s first subterranean dining destination — and it wasn’t built so much as discovered. Found over six metres below ground in 2013 during construction of a new villa, the cave sat conserved and untouched until Chef Ryan Clift saw what it could become. Today, it seats 22 people inside walls that have been here for 25,000 years. The campaign was built to introduce a new menu in a space that already carries its own weight. Chef Clift’s latest menu doesn’t fight the setting — it earns it. His personal favorite, the Foie Gras Éclair, says everything about his approach: a pastry you’d recognise from a street window, filled with one of the most indulgent ingredients in a professional kitchen. Playful on the surface, precise underneath. But The Cave is only one part of The Edge’s story. Up above, at One Eighty, Chef Suasa brings the ocean to the table — a seafood platter built for a day club that literally hangs over it, with a glass-bottom sky pool and the Indian Ocean stretching out beneath your feet. Different energy, same commitment to making the setting mean something. The cocktail film completes the picture — not as an afterthought, but as the thread that connects both worlds. Craft, atmosphere, intention. Whether you’re descending into the cave or watching the sun set from the cliff’s edge, the drink in your hand was made with the same care as everything else. This campaign wasn’t about showcasing a menu. It was about showing people that The Edge is a place where every detail — the food, the space, the light, the glass you’re holding — was put there on purpose.Two things I still need:Your exact deliverable — how many films, cut lengths, where they ranYour role — did you direct, produce, concept all of this?Sonnet 4.6Extended

FORE CSR https://youtu.be/XzoM3Fn4CcE CLIENT Fore CAMPAIGN TYPE CSR: Heroes DELIVERABLES 60s DV Commercial DIRECTOR Ikhtiar Maulana OVERVIEW In the F&B space, the product is always front and center. The coffee, the packaging, the aesthetic. FORE Coffee had all of that. But the brand carried something less visible — the people behind each cup who rarely get named. The Fore Hero campaign turned the camera away from the product and toward the hands that make it possible. Baristas who blend with precision and warmth. Riders who show up in the middle of the city’s chaos to deliver something that still feels personal. People for whom this isn’t just a job — it’s a craft they take seriously. The film doesn’t celebrate them loudly. It does something harder: it slows down. It finds the dignity in an ordinary delivery, a single order reaching a single person, and asks the audience to see what’s really being handed over. Not just coffee — but care, made consistent at scale. At a time when brands chase noise, FORE chose depth. The Fore Hero campaign was a reminder that the best brands aren’t built on product alone — they’re built on the people who believe in it enough to carry it forward, every single day.