A filmmaker
in progress.
Over a decade spent learning — first how stories are written, then how they are shot, edited, and finally given back to the people they belong to. This page traces that path.
My Journey
From the writer's room
to the field.
"Every role I took taught me something the next one needed."
A career that moved through writing, direction, editing, journalism, and cinematography was not without direction — it was an extended apprenticeship in understanding how films are actually made, from the inside out.
Chapter 01 — The Beginning
Learning to see through language
It started with words. Working as a Writer and then Assistant Director at Sisimpur — one of Bangladesh’s most respected children’s television productions — the craft was storytelling at its most foundational: who are these characters, why does this moment matter, and what does the camera need to feel? Karkhana followed, where the assistant director role demanded the same discipline on a different kind of set. These early years built a structural intuition for narrative that no amount of technical training can replicate.
Chapter 02 — Learning the Machine
Post-production as a second language
Moving into the edit suite as an Assistant Video Editor at Katib Ul Bary Moyukh, then into the camera department as a Cinematography Intern at Camerashram, filled in what the writer’s room couldn’t show: how footage behaves, how a cut earns its place, and how light and glass conspire to make or ruin a scene. These were the years of watching, absorbing, and making expensive mistakes on someone else’s timeline.
Chapter 03 — The Field
News, speed, and real consequences
Video journalism at The Report.live introduced urgency. Stories waited for no one, and the camera had to think faster than the mind could plan. Simultaneously building editorial skills as a Video Editor at Goopy Bagha Productions — a production house with strong creative standards — grounded the fast-paced work in craft. Between those two modes, a professional rhythm formed: gather evidence, shape it honestly, deliver it clearly.
Chapter 04 — Present
Documentaries with stakes
At Drik Picture Library Ltd., the work shifted toward something more considered. Producing documentary content for UNICEF, BRAC, UNOPS, and other international organizations required not just technical command but the discipline to listen before reaching for the camera. Films about education, climate resilience, child welfare, and social equity demand that the filmmaker disappear into the story. That disappearing act — and the Kidscreen Award recognition that followed — is what this chapter has been about.
Career Highlights
Shaped by diverse
production contexts.
Core Expertise
What I bring to a production.
Technical Toolkit
The software behind the work.
Camera Experience
From film stock
to digital sensor.
Professional Timeline
Every step in order.
Early career
Sisimpur
Writer & Assistant Director
Bangladesh's Sesame Street co-production — narrative writing and floor-level direction for children's episodic television. First formal grounding in structured storytelling and ensemble production.
↓
Karkhana
Assistant Director
Continued development of directorial thinking on a different kind of production — managing logistics, coordinating talent, and learning how pre-production decisions determine what's achievable on set.
↓
Katib Ul Bary Moyukh
Assistant Video Editor
First immersive experience in the edit suite — understanding how the assembly cut gives way to the fine cut, and how editorial decisions shape the story that cameras can only approximate.
↓
Camerashram
Cinematography Intern
Formal camera training under experienced cinematographers — exposure to professional lighting, lens selection, and camera movement as deliberate compositional choices rather than technical necessities.
↓
Goopy Bagha Productions
Video Editor
Full editorial responsibility on short-form and branded content — developing a personal approach to pacing, sound design, and the relationship between music and picture.
↓
The Report.live
Video Journalist
Field journalism demanded complete self-sufficiency — shoot, record, edit, and publish under deadline. The discipline of news taught that every frame must earn its place.
↓ — Present
Drik Picture Library Ltd.
Videographer
Documentary and branded video production for UNICEF, BRAC, UNOPS, and international development partners. The current chapter — one that continues to define what this work can mean beyond the frame.
Education
Formal training in
South Asian media.
Professional Philosophy
The camera is not a neutral observer. Every choice — where it stands, what it holds in focus, how long it stays — is already an argument about what matters. The work I'm most drawn to begins from a position of genuine curiosity about the people it concerns: not a story I've already written looking for pictures to confirm it, but a willingness to follow evidence wherever it leads, to sit with discomfort, and to accept that the most honest cut is sometimes the one that questions the filmmaker's own assumptions. That's the discipline I bring into every production, from a two-minute NGO piece to a feature-length documentary — the belief that truth on film is earned, slowly, by people who are paying close attention.