Curtis Windover
Creative Lead, Director of Photography, Editor, and Motion Designer focused on cinematic storytelling and visual identity. I shape how brands are experienced through film, motion, and sound.
Creative Lead, Director of Photography, Editor, and Motion Designer focused on cinematic storytelling and visual identity. I shape how brands are experienced through film, motion, and sound.
COVERS ON THE SPOT YOUTUBE SERIES
Covers on the Spot is Musora’s flagship long-form series, including breakout episodes such as “Nirvana but Jazz,” which has surpassed 9 million views. I joined the team as lead editor during its early development and later became the primary Director of Photography and lead creative, shaping its visual and post-production language across 45 episodes. Over that time, I defined and evolved its cinematography, pacing structure, set and lighting design, and motion language, including VHS-inspired FFWD transitions, tactile sound design, and its analog visual identity.
This episode, "The Beach Boys But Shoegaze", was produced during a remote shoot at East West Studios in Los Angeles, where I directed cinematography and made real-time decisions around lighting, camera placement, and spatial composition within a constrained production setup. The visual approach was shaped by the series’ focus on honoring iconic artists and the lineage of recorded music, with the performance filmed in the same studio where Pet Sounds was recorded.
These custom production diagrams, designed by me as colour-accurate camera and lighting layouts, guided crew across consecutive Musora productions, translating a shared studio environment from Covers on the Spot into a Drumeo shoot. As Director of Photography on both shoots, I adapted lighting, camera layout, and visual tone to align with each channel’s distinct aesthetic while maintaining efficiency across back-to-back production days. This video shows the same location transformed.
The same approach carried across our other Musora shoots, working both in changing environments and within the same in-house studio where the majority of episodes were produced. This example features Spin Doctors covering Prince, an emotionally driven session where I focused on editorial pacing to balance the heavier tone with the series’ established light, energetic identity.
As the series evolved, I built and standardized the post-production and motion systems used across all episodes. This included creating reusable DaVinci Resolve Fusion templates for key visual elements such as VHS-style transitions and neon text graphics, ensuring consistency and efficiency across the editorial workflow. I also trained two editors on the format to maintain continuity as the production scaled.
Over two years, Covers on the Spot evolved into Musora's defining series. Contributing to its visual identity from both behind the camera and in the edit suite remains one of the most rewarding creative projects of my career.
Product Visualization & Brand Storytelling
At Supra Distribution, I produced commercial content across a diverse range of brands in action sports, apparel, automotive, and lifestyle. Projects often combined live-action production, motion graphics, stop motion, and 3D animation depending on the needs of the campaign.
Product-focused Motion Design
Product-focused motion design has been a core part of my work, particularly in creating high-end visualizations where products are animated, transformed, and integrated into cinematic brand environments.
These examples explore product transformation through compositing, stop motion, and 3D animation, using different techniques to build stylized cinematic brand moments. Beyond this motion-focused work, I also produced campaign content placing products within real-world and lifestyle contexts.
This G-Shock piece was a self-produced pilot for an unrealized “Solar Powered” video series. I developed & pitched the concept, then travelled to Montreal to shoot it. The campaign builds on G-Shock's position within underground creative culture, emphasizing the hard work of the artists who wear the product.
At Supra Distribution, I worked across product visualization, campaign storytelling, and live brand environments, translating products into motion, narrative, and real-world context across a wide range of visual styles.