From a small team of creative obsessives to a next-generation independent studio, DISAUTHORITY combines full-service post-production with original content creation
DISAUTHORITY (DA) is a next-generation independent studio challenging traditional models of filmmaking by unifying production and post under one roof. Built by filmmakers who grew tired of fragmented workflows, diluted creative vision, and the bureaucracy of waiting for permission to progress.
The studio operates on a simple but demanding principle: if you are obsessed with the craft of filmmaking, the size of your budget will never dictate the quality of your work.
DISAUTHORITY is comprised of two branches: post-production services under DISAUTHORITY, and original filmmaking through DISAUTHORITY Originals. That work now includes the completion of principal photography on its debut feature film, Sticks & Stones, a grounded supernatural horror written by Lily Howkins. With post-production already underway entirely in-house, the film is scheduled for release in 2026 and marks a defining milestone for the studio’s integrated model.
“Sticks & Stones represents exactly why our studio model exists. The film is ambitious and emotionally driven, but it’s also practical and intentional. Being able to carry a project from development through to post with the same creative team means nothing gets lost along the way.”
Maria Shevtsova, DISAUTHORITY Vice President & Producer.
Origins Rooted in Creative Obsession, Not Access
DISAUTHORITY’s story begins not with industry access or established backing, but with a passionate necessity to create films.
Growing up in Norway, Managing Director Marcus Hundsnes developed an early interest in storytelling and visual expression shaped by a fierce resilience and creative independence. As a teenager, he worked multiple day and night jobs – stocking shelves, cleaning, and doing whatever was available to save enough money to apply to film school in the UK.
“I wasn’t born into film. I had zero industry lineage, just this hunger to make films and with no interest in waiting around for it to just happen.”
Marcus Hundsnes, Managing Director of DISAUTHORITY
That determination led him to MetFilm, where he met Zain Haris and Raiyan Chinoy, now DISAUTHORITY’s Colourist and VFX Supervisor respectively. All three shared a passion for the craft of filmmaking, but also frustration with how post-production was treated within student and independent filmmaking – often rushed, outsourced, or approached as a technical afterthought rather than a creative process.
Zain brought a deep understanding of colour and image systems, while Raiyan had a strong aptitude for VFX and technical problem-solving. Marcus began pulling them into early post jobs, cleaning up edits for other students. Workflows were tested and rebuilt, and every project, regardless of scale, was treated as an opportunity to refine craft.
“We were just trying to make things look better than they had any right to. There was no money, no safety net, just a shared obsession with getting it right”
Zain Haris, Colourist at DISAUTHORITY
“In the early days, every project was an experiment. We were learning creatively and technically at the same time. That mindset is still central to how we work.”
Raiyan Chinoy, VFX Supervisor at DISAUTHORITY
A modest £300 paid post job became a turning point, proof that their work had tangible value. What followed were increasingly ambitious shorts, late-night sessions, and the gradual formalisation of systems that would become DISAUTHORITY’s technical foundation.
Entering Production and Formalising a Studio
The shift from informal collaboration to structured studio began in earnest in 2023, when Marcus was approached by producer Maria Shevtsova to collaborate on a short film that required both production and post support. Rather than splitting responsibilities across multiple vendors, the project was handled end to end by the same team.
“What immediately stood out to me was how integrated everything already felt. Post wasn’t something they tacked on at the end, it was part of the storytelling conversation from the beginning.”
Maria Shevtsova
That collaboration became a test bed for a new way of working: independent filmmaking powered by post-production infrastructure and creative continuity. As further projects followed, it became clear the team was already functioning as a studio, just without the formal structure.
From this came DISAUTHORITY’s dual structure: DISAUTHORITY Originals, the production arm developing and producing original films, and DISAUTHORITY, the post-production studio supporting both internal projects and carefully chosen external work. The two arms operate symbiotically, creating a closed creative loop that allows ideas to be conceived, produced, and finished with clarity and control.
Scaling Infrastructure Without Losing the Human Core
DISAUTHORITY has grown steadily from three people working out of a garden shed to a close-knit team of fifteen. That growth has required significant investment in infrastructure, from server capacity and backup systems to calibrated colour suites and high-end VFX pipelines, but the studio has been equally intentional about protecting its culture.
“Growth doesn’t have to mean bureaucracy, we’re very conscious of not building layers that slow people down or disconnect them from the work.”
Maria Shevtsova
The studio operates with small, senior teams, fast decision-making, and a high degree of trust. New hires are given real responsibility early on, reinforcing a culture where people are expected to care and contribute meaningfully.
Sticks & Stones and Looking Forward
With filming now complete on Sticks & Stones, DISAUTHORITY is entering a pivotal phase.
The film, a grounded supernatural horror, is now moving through post-production entirely in-house, ahead of its 2026 release.
Alongside Sticks & Stones, DISAUTHORITY Originals is developing multiple new genre scripts, while the post-production arm continues to expand its work across long-form projects, music videos, trailers, and branded content.
“We’ll keep growing, but we’ll always operate like filmmakers first. Obsessive, collaborative, and unapologetic about caring.”
Marcus Hundsnes
