A studio built
by artists,
for artists.
Redivider exists to help storytellers realise ambitious worlds through story-first visual effects.
Creation through division lies at the heart of our philosophy: different ideas, disciplines, and people come together — like cells dividing and recombining — to form new, unique cinematic worlds.
Combining directorial thinking with technical craft, we collaborate with filmmakers, artists, and creative partners to make work where visual spectacle serves narrative meaning to maximise audience immersion.
Story-First, Directorial VFX
Visual effects approached as a creative discipline, directed with narrative intent and executed with technical expertise. Every frame in service of the story.
Ambitious Craft
An ambition that lives both inside the work and beyond it — pushing each project to its fullest cinematic potential.
Expert & Agile Leadership
A skilled leadership team with complementary expertise, delivering solutions that combine technical mastery, creative agility and narrative intent.
Collaborative By Design
Transparent, partnership-driven. We work closely with clients, creative teams, and a network of specialist freelancers across creative disciplines.
Dieuwer Feldbrugge
Dieuwer is a Dutch visual effects artist and the co-founder and head of technology at Redivider. With over fifteen years of experience in VFX, he spent nine of those years at The Panics in Amsterdam as FX Lead and Senior VFX Generalist, working on a wide range of commercials and short films while also being responsible for pipeline and production infrastructure.
His work ranges from high-end VFX and detailed FX simulations to compositing — initially in 3ds Max and Maya, and now primarily in Houdini and Nuke. After The Panics he went freelance as a Senior FX Artist for Framestore, The Mill, MPC, Ambassadors, Nexus and E.T.C, working on commercials and TV including Black Mirror and One Piece.
At Redivider, he continues to bridge hands-on artistry with technical infrastructure — building pipelines and workflows for a small team of artists working across platforms, while chipping in on the creative side as much as possible.
Matthijs Joor
Matthijs is a Director and VFX Supervisor from Amsterdam with a deep background in both commercials and film. Over the years, he has led teams for brands like Adidas, Asics and Toyota, and served as VFX and Compositing Supervisor on Richard Linklater's feature Apollo 10½.
He recently finished supervising the six-part series The Kollective for Submarine. As a co-founder of Redivider, he focuses on merging visual art with meaning — turning environmental messages, through projects like Woolmark and Greenpeace, into something cinematic and tangible.
As a studio, the aim is to bridge the gap between commercial work that does good in the world and the creation of beautiful, story-driven feature films.
Tim Smit
Tim graduated as a physicist but quickly found his true passion in the world of visual effects and filmmaking. His breakthrough came in 2009 with the short What's in the Box? — a low-budget, first-person sci-fi action film that gained international acclaim for its innovative visuals and narrative.
He went on to direct VFX for feature projects (Last Passenger, The Machine) and music videos (Within Temptation, Daybroke), and completed his directorial feature debut Kill Switch (also known as Redivider) in 2017 — a high-concept sci-fi adaptation of his original short.
Tim has since directed VFX for the award-winning Woolmark campaigns Wear Wool, Not Fuel and Wear Wool, Not Waste, second-unit-directed on Hulu's The Kollective, and is currently developing his new short Axis Mundi as a proof of concept for a feature in development.
Sohaib Bouaiss
Operative: Sohaib Bouaiss. A.K.A. SWIPE. Award-winning VFX artist who specialises in photorealistic and surrealistic environments — lighting, atmosphere, and worlds you'd want to live in (and sometimes wouldn't).
Sohaib stopped trying to save the environment a while back. He just builds his own now. You won't catch him hiking on a Sunday — there's a cleaner version of nature waiting in his scene file.
He can breathe in outer space. He hasn't seen daylight since 1999, on purpose, because the daylight he's rendering looks better. SWIPE = nature, just with better falloff.