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No Sushi launches new editorial roster
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The filmmaker-first post house introduces a new website and editorial roster built around Emmy-winning film and television talent.
No Sushi, the filmmaker-first post house founded by director Daps and producer Alexander Jamieson, has launched its new website around a simple belief: the best advertising is entertainment.
Built to bring Emmy-winning film and television editorial talent into commercials, No Sushi gives agencies, brands, directors and production companies access to storytellers who understand performance, character, pacing, emotion and audience attention.
The new site sets out No Sushi’s sharpened positioning as a post house for entertainment-first advertising, with a roster that includes editors behind some of the most acclaimed and culturally relevant work on screen, 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,” says 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 giving commercial clients access to editors, colourists and sound designers whose work has helped define contemporary film and television.
The company has already handled post production on work for brands including Nike, NOCTA, Cash App, Sprite, Meta, Under Armour and Google.
The new website now gives No Sushi a clearer public platform for its wider ambition: to become the post house built for this moment when advertising increasingly needs to compete with entertainment for attention.
“Advertising is filmmaking,” says 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.”
No Sushi’s positioning reflects a wider shift in the kind of work brands and agencies are trying to make. As commercials become more cinematic, branded entertainment becomes more ambitious, and campaigns increasingly lean on actors, musicians, directors, documentary subjects and cultural storytelling, the role of the editor becomes more central.
For No Sushi, the traditional divide between commercial and narrative editorial talent is increasingly outdated. Directors, actors, musicians and production companies already move fluidly between film, television, music and advertising. No Sushi believes editors should be part of that same creative crossover.
Among the editors featured on the new site are Abhay Sofsky, whose work includes The Last Dance and 100 Foot Wave; Deji LaRay, whose credits span music videos, commercials and branded content for Drake, Rihanna, Kendrick Lamar, Nike and Sprite, and who created and starred in the comedy series Johnson with Cedric the Entertainer as EP; Eric Kissack, an Emmy-winning editor known for The Studio and a raft of comedy and dialogue-driven work; Isaac Hagy, whose credits include Atlanta, Widow’s Bay and Chef’s Table; Joanna Naugle, the Emmy-winning editor of The Bear; 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 is not simply that these editors bring impressive credits. It is that film and television experience brings a specific creative advantage to advertising: a deeper understanding of performance, character, structure, rhythm, tone and emotion.
“The best advertising today is not just polished,” says Jamieson. “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.”
The website also introduces No Sushi’s bold visual identity and irreverent brand voice, reflecting the company’s ambition to operate not only as a post house, but as a visible creative brand in its own right.
The launch marks the beginning of a wider visibility push for No Sushi’s editorial roster, with individual editor spotlights and craft-led features rolling out over the coming months. The series will explore how each editor’s film, television and entertainment experience can help shape more distinctive, emotionally engaging and culturally relevant advertising.
“We want No Sushi to become the place people think of when they want advertising that feels alive,” says Daps. “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 now live.
