I’m Tony Sealy — originally from Sydney, based in Singapore. I make films for business that are creatively distinctive and make complex technical processes easy to understand,
delivered on time and on budget against the goals you set.
I bring three things to a project: the production discipline to deliver it, the creative direction to make it distinctive, and the writing to make it land.
Executive Producer
I’ve worked in this industry my whole adult life, in senior roles from editor and compositor through post-production manager to executive producer and creative director. I
founded Intense in 2003 and run it today as my engineering visualisation practice — writing and directing work for clients including Schlumberger, Aker Solutions, Franklin Offshore, Robert Bosch, StarHub and Mitsubishi. In between, I led Oracle’s production studio across Japan and Asia Pacific for a decade. That span — hands-on craft through to running a studio — is why I can scope a project realistically and hold it to schedule and budget.
Director
While I keep up with the technical side, my real interest is the narrative. As director I take responsibility for the whole process — client liaison, concept, and creative and technical
execution — working solo or leading a team, across corporate films, documentaries, TV programming and interactive work. My production background gives me a
particular creative perspective: I respect a project’s creative goals, but I also have the production knowledge to take on hard creative and technical challenges with confidence.
Recognition along the way includes New York Festivals Finalist, Malaysia Effie Finalist and a Promax Gold.
Writer
Storytelling is the most important skill in this work, and the one I take most seriously. My job is to make sure the film earns its investment — which means crafting the message so technical specialists, non-technical viewers and decisionmakers all understand it at their own level. That starts before the script: researching the product, the company, the competitors and the audience, writing, and researching again. When a film ends, I want it to change something — the decision-maker buys, the audience argues the point, the idea sticks.