Hursh Vaghela
Videographer, photographer, creative producer and social content creator
I turn businesses into content people stop for. From the first idea to the final cut, I create films, photos and campaigns that get you noticed, remembered and chosen.
Films, photography and social content for Jaquar Midlands, Premium Fitness and Snag Tights.
Selected work
Bathroom showroom, Birmingham
Jaquar Midlands
Jaquar sells bathrooms you have to see to believe, so my aim was to bring the showroom to people’s phones: films that make the finish of a tap and the fall of a rain shower feel real, presenters who make a premium brand approachable, and a clear reason to come and visit.
- Role
- Concept, filming and editing
- Formats
- Product films, presenter pieces, series and offers
- Platforms
- TikTok and Instagram, vertical 9:16
- Year
- 2026
Low angles against a dark ceiling, exposed for the highlights so the water glows. A shower is hard to sell through a screen, so I made the water the hero and the experience the selling point.
Hands in frame give scale and touch. A flat finish sample becomes something you want to pick up.
Concept, hook and captions: a presenter with an umbrella under a running rain shower. It stops the scroll in the first second, then gives viewers the postcode to visit.
An interview filmed as a numbered series, with bold captions that highlight key words. A series gives people a reason to follow and puts real faces to the brand.
A presenter-led explainer, framed wide enough to show the product and the person together. One clear benefit per line turns a practical product into an easy watch.
A relatable skit with a trending meme card as the punchline. Humour gets shared, which carries the showroom far beyond its own followers.
Hands-in-frame close-ups of finish swatches and fittings, cut on movement. Touch is what sells a premium finish, so the camera does the touching for the viewer.
Smooth tracking through a dark gallery space, one display at a time. Pacing it like a walk-through lets viewers tour the showroom before they visit.
Tilted angles and quick reveals through a bright, white showroom. The movement gives the space energy, so it feels exciting rather than clinical.
How it was made
- Planning
- Each film is built around one idea, whether that’s a range, a finish or a question customers ask, so viewers remember a specific product rather than just a nice room.
- Camera
- Slow push-ins and smooth tracking through each set, low angles on baths and showers, and close-up detail on taps, levers and finishes.
- Lighting
- I work with the showroom’s own lighting (LED rain heads, backlit mirrors and track spots) and expose for the highlights, so dark displays stay rich and white marble stays clean.
- Editing
- Product films cut on movement; presenter pieces cut tight to the speech, with word-by-word captions for people watching on mute.
- Colour
- Bright and neutral for the marble and gold sets, with deeper contrast for the darker Artize gallery and the shower wall.
- Brand
- Premium but approachable. The product films show the craftsmanship, the presenter films show the people, and both give viewers a reason to visit.
Gym, boxing and MMA
Premium Fitness
Premium Fitness doesn’t need another equipment tour; it needs people to feel what training there is like. I built one dark, red-lit look across weights, boxing and MMA, so every post is unmistakably theirs and every kind of member sees a place they belong.
- Role
- Concept, filming and editing
- Formats
- Brand films, class content and concept pieces
- Platforms
- TikTok and Instagram, vertical 9:16
- Year
- 2026
Handheld close-ups and low angles, graded dark with the brand red kept strong. Opening on the hand-wrap ritual builds tension and sells the mindset, not just the workout.
Shooting through the cage or along the ropes keeps the viewer just outside the action, which is exactly where you want them before they sign up.
A concept piece: one line of text per cut, the same red floor, a different piece of kit each time. Whatever mood a member walks in with, the gym is the answer.
Filmed close to the mats and through the cage during a live class. Real people training together is what convinces someone to book a trial.
An ultra-wide view of the bench press makes the lift and the room feel huge. A bold angle gives a familiar exercise a fresh look on a busy feed.
Gliding moves along the racks and rigs, finishing on the lit logo. It shows the scale of the space while keeping the moody, premium look.
A moody training montage cut to the beat, ending on the neon sign. A consistent sign-off turns every post into brand recognition.
A member’s session filmed handheld around the floor, ending on a smile to camera. Real members make the gym feel welcoming, not intimidating.
How it was made
- Planning
- Different films speak to different members (lifters, boxers and fighters) so the feed reaches all of them, not just one crowd.
- Camera
- Handheld movement close to the action, low angles, through-the-cage framing, and ultra-wide shots where the size of the room matters.
- Lighting
- The gym’s own strip lights, red walls and deep shadows, used as they are rather than flattened out.
- Colour
- A cool, dark grade with the brand red kept strong, so red becomes the signature colour.
- Editing
- Short, punchy cuts timed to impacts and movement, so the energy of training comes through the screen.
- Brand
- Most films end on the neon logo, so separate posts read as one consistent brand.
Hosiery
Snag Tights
For Snag, the aim was to make tights and loungewear feel like a fashion choice rather than an everyday essential: an autumn story campaign where every frame is built around a single colour, and a Christmas Gift Edit shot like a magazine feature, so viewers fall for a product and tap straight through to shop.
- Role
- Concept, photography and social content
- Formats
- Christmas and autumn campaigns, story videos and still life
- Platforms
- Instagram stories and product pages
- Year
- 2026
The campaign opener: bold type and painted swatches in the exact tights colours, so the season and the range land in one glance.
Every frame is colour-matched to the tights in the shot, so the background sells the shade before a word is read.
Short, benefit-led lines on comfort, quality and trust, each with a shop link, so every frame moves viewers closer to buying.
Customer-voice copy in quotation marks closes the run with social proof.
A teaser built for a returning colour: “Did you hear???” hooks the viewer, then “Raspberry Pie is back…” lands the news as the group plays up to camera. It turns a restock into an event.
A plum frame matched to the tights, animated type revealing “The colour of the season”, and a close-up on the fabric. It positions one shade as the must-have for autumn.
The Snag Christmas Gift Edit
The hero frame: a gift-wrapped robe shot top-down on olive paper, with the headline set like a magazine cover. Warm, giftable and instantly Christmas.
The range stacked into a tree shape with fairy lights, a red star and soft-focus baubles. The products become the Christmas tree.
One headline across every frame, with one practical detail each (socks that feel like clouds, UK sizes 4–38), so the edit sells as people swipe.
Behind the scenes: my set for the shoot, with Godox softboxes, an overhead lantern on a boom arm and a sweep of olive paper for a seamless, even backdrop.
An off-white backdrop and stone plinth keep the frame quiet, so the black hosiery and tartan box stand out.
Shot at f/4 on a green backdrop: the velvet bow stays sharp while the knit softly falls away.
Red velvet against black and white knit, 70mm at f/5, so the texture of both stays crisp.
How it was made
- Campaign design
- Autumn story frames colour-matched to each shade with a clear shop link; the Christmas Gift Edit runs one magazine-style headline across every frame, so each run reads as a single campaign.
- Story video
- Teaser-style edits with animated text and group energy, built to announce a colour and push viewers to the shop.
- Styling
- Hosiery treated as a styled object: rolled and tied with velvet ribbon, or set on a stone plinth with a quote card and tartan box.
- Camera
- Shot on a Sony A7 IV at 56–70mm. Wider apertures (f/2.8–f/4) soften the background; f/5 keeps more of the knit texture sharp.
- Lighting
- A multi-light studio set (softboxes and an overhead lantern) for soft, even light that shows the texture of the knit and towelling without harsh shadows.
- Colour
- A restrained palette: off-white and stone for the plinth set, red velvet on green for the ribbon set.
- Use
- Clean enough for product pages, styled enough to stop someone on social.
How I think about a short video
Every vertical film is a race against the thumb. This is the shape I work to, with examples from the work above.
- 0:00
Stop the scroll
The first second has to give someone a reason to stay. A presenter with an umbrella under a running rain shower does that before a word is said.
- 0:02
Say where we are
Once they’ve stopped, tell them who and where: “Welcome to Jaquar World, in the heart of the city centre of Birmingham.”
- Middle
Keep changing something
A new angle, a new word on screen or a new detail every couple of seconds. The boxing film moves from hand wraps to bag to ring without holding a shot longer than it needs.
- End
Ask for one thing
Finish with something to do or remember: a postcode, a price, or a logo you’ll recognise next time, like the neon sign that closes the Premium Fitness films.
Series over one-offs
Jaquar Diaries runs as numbered episodes, giving people a reason to follow rather than watch once.
A look people recognise
Premium Fitness keeps the same dark grade, red accents and neon sign-off across weights, boxing and MMA, so separate posts feel like one brand.
Content with an objective
Showroom films drive visits, presenter explainers answer real customer questions, and offers like the Ramadhan set are timed to the season.
Tools and craft
- Premiere ProEditing and colour
- CapCutFast social edits and captions
- LightroomPhoto grading
- PhotoshopRetouching and graphics
- InDesignLayout and print
What the work on this page shows:
- Planning ideas people won’t scroll past
- Concept development
- Camera operation
- Stabilised and handheld movement
- Composition and framing
- Product and detail filming
- Low-light shooting
- Colour grading
- Editing to rhythm
- Captions and on-screen text
- Vertical formatting
- Presenter and interview filming
- Still life photography
- Creative direction
Own kit: Sony A7 IV, gimbals, microphones, flash and continuous lighting.
About
I’m Hursh: a videographer and photographer, and a creative social media marketer.
Give me a simple thought and I’ll turn it into a big idea. My First Class degree in Fashion Communication and Styling from De Montfort University taught me how brands are built and how images persuade, and I use it to find the angle that makes your business stand out: a scroll-stopping hook, a series people follow, a stunt they share, a look they recognise instantly.
Then I make it real. I plan the concept, shoot the films and photos, and edit them for the platform they’ll live on, so every piece has a clear job: bringing new customers to you.