Commercials, brand films, music videos, film and digital work. Click any piece to open it in the player.
The approach behind a few pieces, problem, solution, result.
Turkish Airlines Holidays' 'A Piece of Yourself' film. The agency's idea was clear: Melis Sezen plans her trip from her phone, and the moment she taps 'Book your place' she finds herself inside that destination.
This is exactly my specialty: destination storytelling. Instead of promoting a place, putting the viewer inside it. A touch changes the location; Kahramanmaraş flows in a single breath, from Şairler Tepesi to the sunset on the glass terrace at Ali Kayası.
As a commercial director, destination storytelling and touch-driven VFX transitions that change the location are among my favourite kinds of work.
Sönmez Trafo was a process we ran well together, from the first 'what does this brand do' meeting to delivery. With the crew we went through 900-plus references; I built the film from the 1130 pieces of data that came in, with 83 AI shots inside.
Once the idea of building the film on a miniature world was approved, the real work began. We thought of the factory not as a cold catalogue but as a story that uses its scale like a character.
Most of the work happened in post; the offline took about 8 days. We pushed hard for a perfect result.
This industrial brand film, blending heavy industry with AI and VFX, was one of the toughest we built together as a team.
We've worked with Bioxcin for a long time; we get on well with the brand and enjoy the work. This is one of the films we made together.
Each time our aim is the same: to tell hair care without falling into the cliché cosmetics ad, in a plain and sincere language. Understated but trust-building.
This long-running relationship with the brand is a good example of how simplicity builds trust in a hair care commercial.
Migros's summer 'Deniz Market' film. Within the frame the agency set, my job was to show the market less like an ad and more like the rhythm of summer itself; the sea, the heat, the everyday flow.
On the image side we worked with Fedon. We built the whole film in Migros's brand language, its colours and tone; while keeping the product forward, we looked for an airy, inviting holiday feeling.
On this brand commercial, shot with director of photography Fedon, the key was building a summer world in a retail brand's own colours and tone.
Var Bir Hedefimiz is a special one for me; it came the day my daughter was born. A film we made with love, with director of photography Gürol Beşer.
We wanted a cinematic look at Beşiktaş's culture and memory. Real locations, natural light, long takes. We shot it with 220 people walking around Beşiktaş all together.
We made every individual story part of a collective goal. Starting plainly in İstanbul's flow, the rhythm rises with the crowd; not a goal, but a matter of stance.
Shot in long takes with director of photography Gürol Beşer and a 220-person crew, this club brand film is one of my most personal examples of cinematic commercial directing.
Nutraxin's Omega 3 film. The interesting part was the production: we shot the film at a lake in İstanbul, then moved the scene into a glacier world with AI.
We combined a real shoot with AI to build a believable, cool, clean world. For me the joy was fusing those two techniques seamlessly into one film.
Blending a real shoot with AI and VFX, this commercial is a good example of bringing traditional production and an AI world together in a single frame.
Eti Wanted was a snack ad built in a suspense-comedy language. We turned the brief's 'half of succeeding' idea into a tempo on set.
We opened with dramatic music; I staged the panic of a young guy saying 'my parents are on the way, the house is a mess' with fast cuts, almost like a crime scene. The right music, the right brand and the right agency came together; it also won an award.
Built with the right music and team, this award-winning commercial showed that telling a snack brand's story in a suspense-comedy language really works.
Sultan Sucuk's 51st-year film. The idea was warm: the natural reaction of a child meeting the taste for the first time.
On this one I both directed and acted. I set the kitchen in a family, inviting atmosphere and put improvisation first; the camera followed the child's surprise and inability to speak from the taste up close.
This 51st-year brand film, which I both directed and acted in, shows how an improvisation-friendly directing approach captures a genuine moment.
Talking Heritages is a project that lets Türkiye's historic sites speak in their own voice. The shared line was: stones speak, time remembers.
For it we created a strong format from scratch; each place speaks in the first person, in a poetic tone. On the Hagia Sophia and Ephesus episodes I built framings that turn the place into a subject, and a grave light.
The aim isn't to inform but to convince the viewer to actually go there; a structure where a brand can truly make a difference.
This documentary format, which we built from scratch, makes a real difference for the brand through directing and framing that lets historic sites speak in the first person.
All work below, filter by category, click any to open it in the player.
→ 60+ works on Vimeo: vimeo.com/firataydin
I'm an İstanbul-based director. Across more than twelve years I've directed hundreds of commercials, music videos and pieces of digital content.
I don't work to a single formula. In advertising I look for the brand's emotion, in a music video the rhythm, in a film the character, and with new tools the thing no one has tried yet. The common thread is always the same: finding the right moment.
Today I move between advertising, cinema, music and digital culture. It's not about good images; it's about making an idea felt and memorable.