by FD cc

byFD is what happens when no one is watching — where raw ideas take shape.
Brutalist aesthetic. Less portfolio than manifesto.

Film as my main focus and music, design, code as other forms of expression — personal projects fueled by passion, with just enough teeth to make a living, built with sweat, not capital.
It's a bet on niche over noise, on doing it yourself when the doors stay shut.

—

Metrics over meaning? Not here.
Something real? Let's talk.

- Frankie

aegir studio

Filmmaker by trade for over 20 years. I originally created Aegir Studio as a platform for my freelance film work — focusing on sober, powerful, genre-driven visual narratives.

While commercial projects remain part of the equation, Aegir Studio exists primarily as a vehicle for personal filmmaking — stories that don’t fit the corporate mold. That path now leads to The Edge , my first feature film, developed independently and built for creative autonomy.

The Edge

Commercial and corporate work sharpened my craft as a director — but never gave space to express my voice and aspirations.

I wrote The Edge for that reason.

Fueled by my love for genre cinema, cut from the old school, letting light, sound, and movement drive the story through cinematic aesthetics and technical artistry. Channeling intense, immersive energy with a bold yet thoughtful approach.

The screenplay is ready. Designed as a low-budget, post-ap survival thriller, built for independence — not vanity metrics. Few locations. Small crew. Heavy atmosphere. Constraints as weapons.

The project is being developed independently. The first crowdfunding attempt failed — the project keeps moving. Brick by stubborn brick, visual world taking shape. Cast coming together. Money still being hunted.

If you’re a producer, collaborator, investor — or someone willing to throw a few euros into the fire instead of feeding the algorithm — this is where you can jump in

"The Edge" concept poster

skrean

I coded Skrean from the ground up as an experimental VOD platform — a digital grindhouse for indie horror and cult thrillers.

Skrean was originally built as a distribution tool for The Edge, not as a content marketplace. I chose not to dilute it by chasing catalogs or volume.

The platform is live in a minimal, intentional form — showcasing cult horror classics available for free. It stands as both a technical exploration and a statement: cinema should leave scars, not metrics.

The lessons learned from Skrean now feed my approach to The Edge and future Aegir Studio productions. The tool exists. It will be used when it matters.

Rev|cut — Review the Cut (private beta)

I was using Frame.io to gather client feedback until a requirement for strict GDPR compliance forced a pivot. Dissatisfied with the available alternatives, I built my own review platform to regain control.

This tool allows reviewers to comment on precise timecodes, pin specific elements directly on the image, or select ranges that need changes — securely, in-app, without accounts or external file transfers.

After more than a year of internal use, I refined it into a commercial product and released it as Rev|cut . A focused tool, built to keep the review process simple, private, and under control.

jōhatsu

I’ve been screen-printing for over 15 years as a creative outlet. In 2024, it led to Jōhatsu , a one-man brand focused on graphic t-shirts, craftsmanship, and ethical values, officially launching in 2025.

Inspired by D.I.Y. culture, minimal aesthetics, and a punk ethos, Jōhatsu allows me to create freely, without external constraints or compromise.

A portion of the proceeds supports mental health initiatives. Garments that don’t meet quality standards are donated to local homeless charities.

The name Jōhatsu was chosen deliberately. In Japanese, it refers to “evaporation” — a term often used to describe people who intentionally disappear to escape personal struggles or societal pressure. To me, it represents stepping away from an old life and starting again with a clear purpose.

bl34k

I'm no musician, but //:bl34k is where I dump musical experiments, mess around with sound— something I want/hope to be between trip hop and future garage, lo-fi beats from lockdown isolation. Atmospheric, moody, and intentionally unrefined. Sounds for late nights and rainy days.

my story (if it matters)

2000–2017

I started by the book. Filmmaking degree (2000), then Media Production degree at La Sorbonne (2003). Spent several years inside the machine working in a production company—commercial shoots, music videos. I learned the craft. Don't get me wrong, I loved these years 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, I needed more experience. But the gigs for Drublik came in. Rawtee took off. It looked like I'd made it—in my own crooked way.

In 2009, I visited Berlin for the first time. 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 but by 2017, I finally moved. And that's when the reel jammed.

The video work dried up. Buried Drublik. Folded Rawtee. Took whatever came, learned fast, burned faster. Then illegally fired, months without income, debt stacking. Found my way back through a streaming company, learned more than I expected, cut again after three years. Strategic reasons.

2024–2025

On the ruins of Drublik, I built Aegir Studio and turned inward. Wrote a feature script, The Edge. Coded RevCut to fix my own client-feedback problem, then Skrean for the genre films that don't beg to be liked. Went back to the screen-printing press with Jōhatsu. Dumped the late-night noise into //:bl34k.

Five years, five things that didn't exist before.

Berlin never rolled out the red carpet. Good.