C'est Moi (TV Trailer)
A broadcast-style trailer cut to announce Kalibre's 'C'est Moi' before the full video dropped. Short and loud, built like a movie spot, enough to set the tone without giving the clip away.
Funnydayz is a Montreal-based creative studio specializing in music videos and video production. This portfolio is an interactive 3D showreel: the visitor stands inside a bright open space surrounded by our photo and video work in every direction, on desktop and mobile. Based in Montreal and serving the Greater Montreal area, Funnydayz handles music videos, commercial video production, creative direction and visual content for artists and brands.
A broadcast-style trailer cut to announce Kalibre's 'C'est Moi' before the full video dropped. Short and loud, built like a movie spot, enough to set the tone without giving the clip away.
JULIU$ and Ville's 'SUPER', released on the FunnyDayz channel in March 2026. The goal was to capture the energy of the performance and keep the visual weight on the artists. We shot the live-action outdoors just outside Montreal in the late fall, using the natural light to set the tone. To expand the world of the video and contrast the gritty outdoor footage, we shot several sequences on greenscreen, then keyed and composited the artists into custom environments in After Effects and built out the text animations and most of the visual effects there. Everything came together in Premiere Pro, where we cut the master timeline and dialed in the color grade.
Weslow's 'RUBBERBAND', produced by FunnyDayz and released in June 2026. We handled the full post-production pipeline. Premiere Pro carried the main edit with rhythmic cuts, transitions and a moody color grade to match the track's dark, atmospheric energy. After Effects added the VFX compositing, text design and typography animation. For the standout 3D sequences we went to Blender, modeling and rendering a custom night sky and animating the airplane sequence for cinematic scale.
RDCI's 'Unemployed', a FunnyDayz production released in September 2025. We kept the visuals raw to match the heavy trap beat, shooting in a bare cement location that gave us full control of the lighting and locked in that gritty, underground look. The main edit was built in Premiere Pro, then finished in After Effects for the title design and visual effects. We leaned on some AI-driven VFX here too, most notably the hard match cut at 1:09 where he hits a pose and the background snaps into a hell-like environment. To push it further we brought in TouchDesigner for a custom, data-heavy scan effect that mimics a night-vision camera interface with tactical readouts on screen.
A two-in-one video for Kalibre, 'GoonPhone' into 'Revenu Québec', released in May 2025. We wanted a look that caught Kalibre's mix of goofy energy and gritty, underground trap mood, so we scouted a spot out in Longueuil with an old rusty car to anchor the aesthetic. A lot of the setups leaned into that chaotic, off-beat vibe, like him sitting at a table surrounded by a bottle of cleaning product and random clutter. In post we treated both tracks as one project, cutting the master timeline in Premiere Pro to keep the pacing tight between the two songs, then bringing everything into After Effects for the custom title cards, transitions and visual effects. One detail we like: the custom 'Cob Hub' animation built in After Effects that closes out both tracks and ties the release together.
Another double video for Kalibre, 'Gouvernement' into 'Une Toyota', released in November 2025. Two tracks stitched into one.
RDCI's 'Crosse Toton', shot and edited by FunnyDayz, released in December 2025.
JULIU$' 'avec amour,', shot by FunnyDayz and released in March 2025. The video is built around a classic seafoam green car, the only thing in color for most of the clip.
Kalibre's 'C'est Moi', directed and edited by FunnyDayz, released in October 2025. This one was treated as a full campaign, not just a clip: a TV-style trailer teased the drop, a 3D poster announced the date, and custom thumbnail art carried it onto YouTube.
RDCI's 'Remplir le bag', shot by FunnyDayz and released in April 2025.
Kalibre's 'Diddy en 2004', released in July 2025. A throwback to the shiny-suit, diamond-lettered era of rap videos, replayed through a Montreal lens.
RDCI's 'C.A.B', released in November 2024. The first video FunnyDayz shot with RDCI.

A one-minute PSA-style spot made for the Écoute-moi une minute ethics format in 2024, about putting the bottle down. For the record, the original description insists no alcohol was consumed in the making.
A mic-performance video for Kalibre's 'George Fraude', released in July 2025. Stripped down on purpose: one performer, one mic.
A short café reel: the grinder dialed in, portafilter in hand, steam and morning routine up close. Shot behind the bar and cut vertical for socials.
A walking skit for JJD Clothing. Streetwear read the way it's meant to be read, on somebody moving. Cut quick and vertical for socials.
The teaser for 'Remplir le bag', a short cut released ahead of RDCI's full video to prime the drop.
A denim-detail reel for JJD Clothing, cut to a TikTok transition sound. Stitching, hardware and dark-wash texture up close instead of on a rack.
The FunnyDayz intro: a chrome ring-and-sphere logo rendered in 3D. A few seconds of animation that open our videos.
An animated logo sting for JJD Clothing, built to open videos and social posts. Quick and clean, made to be recognized in under two seconds.

Cover art for RDCI's 'Unemployed', designed alongside the video so the whole release reads as one piece.

The lookbook steps outside: two figures at the fence, backs to the camera, the XII tee facing the river.

The last frame of the JJD Clothing lookbook.

From the outdoor half of the JJD Clothing lookbook, shot by the water on the edge of Montreal.

The second frame from the Akai studio session, head bowed over the sabre's guard.

From a studio session with Akai: white seamless, sport shades, tattoos, and a fencing sabre standing in where a mic would usually be. This frame keeps the photographer in the shot.
Thumbnail art for Weslow's 'RUBBERBAND', the image that fronts the video on YouTube.

From the JJD Clothing lookbook, one of the closing frames of the studio set.

A still from the 'Remplir le bag' shoot with RDCI.
Thumbnail art for 'Lâche la bouteille', the one-minute ethics spot from 2024.

Still photography for JJD Clothing, late in the lookbook set.

A frame from the JJD Clothing shoot. The brand's red numerals and contrast stitching run through the whole set.

From the JJD Clothing lookbook, one of the frames shot in daylight away from the studio wall.

Still photography for JJD Clothing, part of the full lookbook set.

JJD 17, second frame: an alternate take from the same look, close enough to keep, different enough to matter.

One look from the JJD Clothing drop, shot in the same session as the rest of the set.

From the JJD Clothing shoot, photographed for the lookbook.

A frame from the JJD Clothing set. The lookbook alternates studio white with Montreal riverside.

Still photography for JJD Clothing, one of the frames that rounds out the lookbook.

From the JJD Clothing lookbook. One look, one frame, no filler.

A second take that earned its place in the JJD Clothing lookbook, shot in the same session as the rest of the set.

One of the quieter frames in the JJD Clothing set. Denim, leather, and the brand's red numerals.

From the JJD Clothing lookbook. Every piece in the set carries the same signature: red Roman numerals stitched into dark fabric.

One frame from the JJD Clothing shoot, halfway through the lookbook.

Still photography for JJD Clothing, shot for the brand's lookbook.

A frame from the JJD Clothing shoot, part of the full lookbook.

From the JJD Clothing lookbook. The set moves between white studio frames and shots out by the river.

One look from the JJD Clothing drop, photographed for the brand's lookbook.

Another frame from the JJD Clothing lookbook. Denim details and deliberate styling, nothing in the frame that doesn't belong to the clothes.

A frame pulled from 'Diddy en 2004', one still from the shoot with Kalibre.

The lookbook opens in the studio: two fits side by side on white, black denim against blue, leather over knit. Red Roman-numeral embroidery marks every piece.

A personal piece. Layered photography: clock hands, neon crosses, fireworks through the grain, a signature scratched into the corner. No client, no brief.

From the studio half of the JJD Clothing lookbook, shot clean on white to keep the focus on the cuts and stitching.
Thumbnail art for Kalibre's 'C'est Moi', designed to read at any size, from a phone feed to a TV screen.

Third still from RDCI's 'C.A.B', closing out the set of frames pulled from the 2024 video.

First of three stills pulled from RDCI's 'C.A.B'.

Still 3 of 7, another frame from the JULIU$ video.

Second still from the 'C.A.B' shoot with RDCI.

Still 7 of 7, the last frame pulled from the 'avec amour,' shoot.

Still 6 of 7, near the end of the set.

Still 5 of 7 from the 'avec amour,' shoot.

Still 4 of 7 from the 'avec amour,' shoot with JULIU$.

Still 1 of 7 pulled from the 'avec amour,' shoot with JULIU$.

Still 2 of 7 from the 'avec amour,' shoot.

The 3D release poster for 'avec amour,': the video's classic car rebuilt in 3D, announcing the 06.03.25 drop.

The 3D release poster for 'C.A.B', RDCI's November 2024 drop. Part of a series of 3D recap posters made for each release.

The 3D release poster for 'C'est Moi', announcing Kalibre's drop before the video went live.

The 3D release poster for 'Diddy en 2004', with the drop date set in rendered type.

The 3D release poster for the 'George Fraude' mic performance, announced before it hit the channel.

The 3D release poster for 'GoonPhone & Revenu Québec', announcing the double drop and its date before the video landed.

A 3D announcement render for a Kayak Distribution ad campaign: red hull cutting through black water, the date still reading XX.XX.26. The campaign lands in 2026.

The 3D release poster for 'Remplir le bag', RDCI's April 2025 drop, set in rendered chrome type.

The 3D release poster for 'Unemployed', announcing RDCI's drop before the video went live.

MURAL Festival on boulevard Saint-Laurent, the Scène Saint-Laurent packed while the MONTREALITY screen burns behind the crowd. Shot from inside the crowd, not above it.

From the MURAL Festival set, shot on and around boulevard Saint-Laurent during the festival weekend.

Event photography from MURAL Festival, chasing the in-between moments as much as the stage.

One frame from the MURAL Festival series, shot at ground level where the festival actually happens.

Backstage at MURAL Festival: a crew in black leather posted against a shipping container, one seated up front with a bottle and no interest in smiling. Portrait work between sets.

From the MURAL Festival weekend, shot between the crowd, the stage and the alleys off Saint-Laurent.

Frame seven of the MURAL Festival series, shot across the festival grounds.

One more from MURAL Festival, with the color and grain left honest.

Backstage portrait from MURAL Festival: corpse paint and copper locs filling the frame. One of the strongest faces of the weekend.

Frame ten, from the tail end of the MURAL Festival weekend on Saint-Laurent.

The last frame of the MURAL Festival series, eleven shots from Montreal's street-art festival.
The campaign film for Kayak Distribution. Shot lakeside over a summer, cutting between product details, paddlers on the water and drone views of the shoreline.

A wet VIBE paddle blade shot up close, water still beading on the surface.

A row of Beluga paddle blades laid out on weathered wood, alternating marbled orange and blue.

The Riot Kayaks logo on a red hull, shot tight with water still on the plastic.

A yellow Boréal Design sea kayak strapped to a roof rack, shot looking straight up the deck into the tree canopy.

A paddler resting above the water, yellow sea kayaks lined up along the shore below.

A red and white Boréal Design hull with water thrown across the frame, caught mid-splash.

A paddler standing beside a red Boréal Design kayak on a calm lake, forest across the far shore.

An overhead drone frame of a red kayak passing a submerged boulder in clear water.

A drone shot of the lake at sunset, the sky burning orange over silhouetted islands.

A paddler carrying a blue Riot kayak on his shoulder, close against the treeline.

A paddler shouldering a blue Riot kayak on the shore, paddles and boards racked behind him.

The bow of an orange Riot kayak sitting low on dark water, logo in focus.

The cockpit and logo of an orange Riot kayak, seat and rigging in frame.

A paddler in a white Boréal Design Halo sea kayak, looking back toward the camera mid-stroke.

A paddler settling into a white Boréal Design sea kayak beside a lichen-covered rock, shot over his shoulder.

A paddler pulling up onto the rocks beside a white Boréal Design kayak, hills across the water behind.

A yellow Boréal Design kayak resting in the reeds at golden hour, a paddler standing at the stern.