Standing in the troglodyte house in Matmata, southern Tunisia, the real set used as Anakin Skywalker's home in Star Wars.
Creative Director · Creative ProducerVFX Supervisor
Structure follows the idea.
Not the other way around.
Films · Series · Commercials
Selected International References
Each project shaped my growth from compositing to Creative Director and VFX Supervisor.
Amazon Prime · 2024
Senior Compositor: 22Dogs
Recomposed the choreography and resynced two actors within a single shot. Performance, timing and screen geography read entirely by eye.
Apple TV+ · 2023
Senior Compositor: 22Dogs
Estimated focal lengths by eye to seamlessly extend the set and match the backdrop to the live-action plate.
Feature Film · 2023
Senior Compositor · Compositing Supervisor · CG Generalist: Exotic District
Additional contribution · Remote VFX Consultant (Pre-Prod & Production)
Environment rebuilt through matte painting to shift the emotional quality of light. Not addition, but transformation.
Netflix Original · 2022
Compositing Artist: Swiss International VFX
Entire shot rebuilt from multiple elements. Practical light and virtual light matched until indistinguishable.
Commercial
Senior Compositor · Matte Painter: Swiss International VFX
Real location removed and replaced. A new natural landscape built from scratch directly inside the composite.
Commercial
Senior Compositor: Swiss International VFX
Matte painting and atmosphere layered to redefine the visual tone. Not correction, but a creative reinterpretation of each shot.
"A great image isn't what you see, it’s what you feel. Years in post-production taught me how to shape that."
- Slim Larnaout
Concept · Direction · Execution
Selected Cases
I started by building images from the inside. Today, I direct the entire process.
If it doesn't serve the story, it doesn't belong there.
Process
This isn't a list of tools. It's what disappears when vision, system, and execution are aligned from the start.
Before production starts, I put myself in the position of the audience. I try to break the idea as much as possible. If it doesn't fall apart, it's worth making. If it does, I fix it before anyone sees it.
The idea either holds or it doesn't.I've seen how things break when people don't communicate. So I keep everyone in the same space. No filters. No silos. Just direct exchange.
Less talk between departments. More work done.When people understand the vision, they don't just execute, they contribute. And that changes everything.
The team brings things I didn't think of. That's the point.R&D, concept, previs, storyboard, it's all done upfront. Some people see that as rigid. I see it as focus. Less uncertainty on set. Better decisions.
No surprises on set. We already lived through them on paper.I show the client what's possible, and where we can go if we commit to the vision. When the direction is clear, the conversation changes.
References first. Then the conversation changes.I know what it takes because I've done it myself. I know the difference between solid and convincing.
I don't ask my team anything I haven't done myself.Showreel
After years of building shots pixel by pixel, I know how complex visual worlds actually come together.
Every system comes from real experience, not theory
Background
The path is not linear. Each discipline adds a dimension.
Together they form a profile built for the full complexity of modern production.
Learned to listen to a client's actual problem before proposing a solution. Understanding what is really needed, not just what is asked for, became a permanent habit.
→ Understands the brief before rewriting it.From aesthetics to strategy. Understanding how a visual serves a business objective, not just an artistic one. The client's problem is always the starting point.
→ Connects the image to the result.Launched Tunisia's first VFX facility. Built pipelines, workflows and a creative operation from scratch, in a context where no model existed to follow.
→ Has built a production operation from zero.On-set VFX experience assisting the VFX Supervisor on an international feature film. Direct exposure to the demands of high-level cinema production from day one.
→ Handles pressure and stays fast on set.High-volume international production. Cross-team coordination across time zones and cultures. Holding a creative standard under daily pressure for eleven consecutive years.
→ Maintains quality under real-world conditions.On-set and remote VFX supervision on major platform productions and international feature films. Complex shots, demanding schedules, multiple geographies.
→ Work that has reached global audiences.Creative and production leadership on complex projects. Original concepts developed and delivered. Commissioned screenplays in development. On-set or remote VFX supervision.
→ The full arc: creative, technical, strategic.From the first word to the final frame
Feature Film · UK / Palestine / Qatar · Dir. Farah Nabulsi · BAFTA Nominated · 2023
Anticipate the unseen
A BAFTA-nominated British-Palestinian feature directed by Farah Nabulsi, shot in the occupied West Bank.
Credits: CG Generalist · Compositing Supervisor · Senior Compositor · Additional contribution: Remote VFX Consultant (Pre-Prod & Production)
Every VFX shot was broken down from the script before the shoot. Technical requirements defined and fallback plans built for every sequence.
A director working with VFX for the first time, shooting in the West Bank where conditions demanded speed and precision. Full remote support with zero presence on set. Every recommendation had to be right. No margin for approximation.
The rain sequence was shot at high noon instead of dawn. Military vehicles rebuilt entirely in CG: modelled, textured, animated, composited through to delivery.
The fallback was there because it had been prepared in advance.
Even remotely, under difficult conditions, strong VFX can be delivered. The condition: thorough preparation and solutions anticipated before the first day of shooting.
TV Commercial · Morocco · M&C Saatchi Africa · 2025
Translate between worlds
A TVC for VISA featuring international soccer star Diaz, produced to air during the Africa Cup of Nations in Morocco.
Credit: VFX Supervisor. Full remote coordination of post-production across two countries.
Two weeks to deliver. Stepping into a process already underway. Understanding the director's vision fast and translating it into clear direction for teams never met in person.
Three worlds to synchronize: the director, the agency, the technical team. Three different languages.
My role: to translate. Help the director understand that technical constraints aren't creative blockers. Show the agency their requirements could be met. Give the team clear direction that preserves the vision.
When everyone understands in their own language, the project moves forward.
Supervising post-production isn't about checking images. It's about translating between worlds that don't always understand each other.
I speak creative, technical and strategy. I make sure everyone moves in the same direction, even remotely, even under pressure.
Sci-Fi Music Video · Art. LS · 2025
Vision over budget
A personal project. A sci-fi music video and a statement: Tunisian hip-hop has a history and deserves to be treated seriously.
Credits: Director · VFX Supervisor · Producer
Professional-grade sci-fi with a team of under ten people, a fully remote VFX pipeline, a single render machine and eight hours on set. Limited resources. No compromise on output.
The real challenge wasn't technical. It was in my head.
Between previs, rushes, fast edits and back and forth, I felt I was going to drown in technique instead of staying creative.
I needed a way to translate my vision into a clear workflow. Words the team could follow. An organization solid enough that I wouldn't have to think about it.
Once the system was set, technique became invisible. I could focus on image, light, emotion. And communicate without repeating myself.
This project taught me: creativity needs structure to exist.
Budget is not an excuse. Less than ten people, eight hours of shooting, one render machine, a 100% remote pipeline. Result: images at international standards.
The difference? Method. Anticipation. Knowing where the real quality lever is, not the expensive one. I know how to do a lot with little. And I know what to buy when there's more.
Fake Out of Home · Brand Content · 2025
Drive business impact
Parad'ICE · Year-end campaign. Concept, development, production, VFX and post supervision.
Visa Card · Original concept through full delivery.
Therapy SPF50 · Launch campaign. Concept through delivery.
Working in a format most agencies are still figuring out. FOOH demands a sharp read of the real location, convincing CGI integration and a brand message that lands in seconds.
The hardest part wasn't technical. It was creative AND educational. Each client was discovering FOOH. They had to understand that a FOOH doesn't sell, doesn't explain. It stops the scroll. Defending the concept meant defending the discipline first.
None of these came from a brief. The territories were identified, concepts developed independently, work delivered in full.
Technique doesn't sell. Business does. I didn't talk compositing or tracking. I talked scroll-stop, brand recall, social media performance.
The client trusted me because I spoke their language: business results. When you translate a creative idea into concrete business benefit, trust comes naturally.
What I Do
Concept, art direction, and directing.
I work from the initial idea through to delivery, defining the visual identity, narrative, and overall creative direction that guides the entire project.
On-set and remote VFX supervision.
I bridge creative ambition and technical execution, anticipating constraints, structuring workflows, and ensuring consistency between the vision and the final result.
Development, coordination, and strategic consulting.
I support teams in structuring projects, ensuring alignment between creative vision, organization, and production from development through to final delivery.
What I Do
Concept, art direction, and directing.
I work from the initial idea through to delivery, defining the visual identity, narrative, and overall creative direction that guides the entire project.
On-set and remote VFX supervision.
I bridge creative ambition and technical execution, anticipating constraints, structuring workflows, and ensuring consistency between the vision and the final result.
Development, coordination, and strategic consulting.
I support teams in structuring projects, ensuring alignment between creative vision, organization, and production from development through to final delivery.
