No Sushi, the filmmaker-first post house founded by director Daps and producer Alexander Jamieson, has launched a new website that sharpens the company’s positioning around one central idea: the best advertising is entertainment.
Created to bring accomplished film and television editorial talent into the commercial space, No Sushi gives agencies, brands, directors and production companies access to storytellers experienced in performance, character, pacing, emotion and audience engagement.
The new site presents No Sushi as a post house focused on entertainment-first advertising, with a roster that includes editors whose credits span some of the most acclaimed film and television work of recent years, including The Bear, Severance, Shōgun, The Studio, The Last Dance, Atlanta, Succession, The White Lotus, Barry, Hacks, Industry and Past Lives.
“The best advertising is entertainment,” said Jamieson, founder and managing director of No Sushi. “If brands want people to actually choose to watch their work, they need the same storytelling instinct, emotional intelligence and editorial craft that shape great film and television. That is why we built No Sushi around editors from that world.”
Founded in 2023 by Jamieson and Daps, No Sushi was created to bridge the gap between advertising and entertainment by connecting commercial clients with editors, colorists and sound designers whose work has helped shape contemporary film and television.
ALSO READ:
Arts Academy promotes editor Charlee Mackey to roster
The company has already handled postproduction for brands including Nike, NOCTA, Cash App, Sprite, Meta, Under Armour and Google. Recent projects include Nike and NOCTA’s “Yes Man” and “Just Like Candy,” starring Kevin Durant and Drake and directed by Director X.
The launch gives No Sushi a more defined public platform for its broader ambition: becoming the post house built for a moment when advertising increasingly has to compete directly with entertainment for audience attention.
“Advertising is filmmaking,” said Daps, co-founder of No Sushi. “The best spots have rhythm, character, emotion and point of view. They are not interruptions. They are pieces of entertainment. Great editors understand how to find that feeling and make it land.”
Blurring the line between advertising and entertainment
No Sushi’s positioning reflects a wider shift in the work brands and agencies are pursuing. As commercials become more cinematic, branded entertainment grows more ambitious, and campaigns increasingly rely on actors, musicians, filmmakers, documentary subjects and cultural storytelling, the editor’s role has become even more central.
For No Sushi, the traditional separation between commercial and narrative editorial talent no longer reflects how the industry operates.
Directors, actors, musicians and production companies already move fluidly between film, television, music and advertising. The company believes editors should be part of that same creative crossover.
Among the editors featured on the new site is Abhay Sofsky, whose work includes The Last Dance and 100 Foot Wave.
Deji LaRay’s credits span music videos, commercials and branded content for Drake, Rihanna, Kendrick Lamar, Nike and Sprite. He also created and starred in the comedy series Johnson, with Cedric the Entertainer serving as executive producer.
Eric Kissack is an Emmy-winning editor known for The Studio and an extensive body of comedy and dialogue-driven work.
The roster also includes Isaac Hagy, whose credits include Atlanta, Widow’s Bay and Chef’s Table; Emmy-winning The Bear editor Joanna Naugle; Keith Fraase, whose work includes Severance, Shōgun, Past Lives and Materialists; and Kyle Traynor, whose credits include The White Lotus, Industry and House of Cards.
For agencies, brands and directors, No Sushi’s argument goes beyond the prestige of those credits. The company believes film and television experience brings a specific advantage to advertising through a deeper understanding of performance, structure, rhythm, tone, comedy and emotion.
“The best advertising today is not just polished,” Jamieson said. “It has to earn attention. It has to entertain. It has to understand performance, tension, comedy, emotion and culture. That is what world-class film and television editors do every day.”
A broader visibility push
The new website also introduces No Sushi’s visual identity and irreverent brand voice, reflecting its goal of operating not only as a post house but as a visible creative brand in its own right.
The launch marks the beginning of a wider promotional push for the company’s editorial roster. Individual editor spotlights and craft-focused features will roll out over the coming months, exploring how each editor’s experience across film, television and entertainment can shape more distinctive and emotionally engaging advertising.
“We want No Sushi to become the place people think of when they want advertising that feels alive,” Daps said. “The work does not have to look like advertising. It has to be entertaining, memorable and made with real taste. That is the standard we are building around.”
The new No Sushi website is live now at nosushi.com.
