Nicholas Mostert's Reel

New Yorker - The Making of.......I got the props master credit…

We produced the parts shot in Cape Town for PALLADIUM COLOGNE for New Yorker, directed by Ivo Weigard / DoP Pascal Walder.

chase the lions

More set design, prop manufacture really. I redesigned the autovilla and designed and applied the signage.


Kieth Rose is the biggest director in SA his production company gets the most work. We had done numerous stuff with Kieth but this was the most memorable...My role was a props buyer and standby props.

chicken licken

Production support involving art dept.


Commercial, I assisted the editor on this one getting all the extra shots for the added animation which is seemless by the way.


My first commercial as art director but still under Mark Mostert the designer. For a boring commercial it was great for me as it allowed me a moment to realise that art department is my vocation.

I am a celebrity get me out of here. itv

This was fun, three months in the malaysian rainforest with five hundred crew. Silverback productions a swedish group were very professional. My role here was art department and prop manufacture.

bieng best

This commercial was fun, Jurgen Bollmeyer is definitely a master director. We did a lot of his campaigns and every one was a thrill. My role was a preframing photographer on the preprod and standby props during the shoot.


commercial, we had done a few of these commercials for nesquick before, the set design requests are that the sets all remained similar and with each project bieng a year apart it was interesting to say the least to rebuild the sets as before. The go kart was a fully running petrol vehicle with brakes and electronics, this was the fun part. My role was standby props and as a buyer on the preprod.

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