The Eye Behind
the Lens: Aman

Let's start at the beginning. When did you first understand that the way properties were being presented was fundamentally broken?

Honestly, it built up over time rather than in one single moment. Early on I was working across a lot of different projects — shoots, campaigns, all kinds of creative work — and I kept being brought into real estate situations where I'd see the gap between the physical experience of a space and what ended up online. You walk into a place and you immediately understand it. The light, the scale, the way the rooms connect — your body just knows whether it's special or not. And then you'd see the listing and it could be any apartment in any city. None of what made it worth its price was anywhere in those images. At some point I stopped asking why no one had fixed it and started thinking about what it would look like to actually try.

The industry has been slow to move beyond the portal model. Why do you think that is?

Habit and cost perception, primarily. The portal model became the standard because it was measurable — you upload a listing, you count the clicks, you show the seller the impressions. Agents became addicted to that reporting. But impressions are not the same as desire. I can make someone click. What I want to do is make them call at 11pm because they cannot stop thinking about a property they saw on Instagram three weeks ago. That is a completely different creative problem.

The cost argument is also largely a myth now. Production has become more accessible. The real question is how you think about the return: a well-produced film for a €2 million property that attracts the right buyer six weeks faster, at full asking price, pays for itself many times over. The maths are not complicated.

You work internationally — Germany, Ethiopia, the UAE, North Cyprus, Morocco. Does the visual language of luxury real estate change across those markets?

Enormously. And this is something that local agents often miss when they try to attract international buyers. What communicates luxury in Germany — restraint, craftsmanship, clean architecture, a certain quietness — is very different from what resonates with a buyer from the Gulf, or from East Africa. In the UAE market, scale and drama read as desirable. In Morocco, it's about warmth, craftsmanship, a sense of cultural depth. In North Cyprus, it's the relationship between the property and the landscape — the Mediterranean light, the sense of escape.

When we produce content for Vera Luxe, we think about who we are actually speaking to. A video for a Munich apartment aimed at an international buyer has to work in a completely different emotional register than one aimed at a local German professional. The architecture of the story changes.

Social media has changed buyer behaviour dramatically. How do you think about platform strategy when you're creating property content?

The first thing I tell every client is that different platforms require completely different content architectures. Instagram Reels and TikTok reward immediacy — you have three seconds to earn the next thirty. The hook has to be visual, instinctive, almost physical. YouTube rewards depth — buyers in serious research mode will watch a twelve-minute property tour if you've earned their attention. LinkedIn reaches a specific professional buyer who is thinking about portfolio and investment as much as lifestyle.

What's changed is that buyers are now doing most of their emotional decision-making before they ever contact an agent. They've already fallen in love — or not — based on what they've seen online. By the time someone books a viewing through Vera Luxe, they've often watched two or three pieces of content about the property, the neighbourhood, the market. Our job is to shape that journey, not just respond to it at the end.

You've spoken about personality as a marketing asset. What do you mean by that in the context of property?

Buyers are choosing their agent as much as their property — especially at the luxury end. They want to work with people they trust, people whose taste and judgment they believe in. That trust doesn't come from a listing. It comes from content that shows who you are: how you think about a property, what you notice that others don't, the quality of your eye.

What Vera Luxe has built is genuinely distinctive. There's a real personality there — an international perspective, a specific aesthetic intelligence, a way of talking about property that feels personal rather than corporate. That is a visual and editorial asset, and we've built the content strategy around it. The brand has an identity that comes through consistently whether you're watching a property film, a market commentary, or a behind-the-scenes reel. That coherence is what builds the kind of following that converts into clients.

Where does property marketing go from here? What are you building towards?

I think we're at the beginning of something significant. The properties that will command premium prices and minimal time on the market in the next decade will be the ones with full creative ecosystems behind them — not just a video, but a visual identity, a content strategy, a social footprint that creates appetite before the official listing even goes live. Pre-market interest is the most powerful thing in real estate: when a property has seven serious enquiries before it's publicly available, the negotiation has already happened.

At Teza Media and Loop Studios, we are building the infrastructure for that. Through our partnership with Vera Luxe, we're already doing it. Every property we work on, we ask: what is the story here, who needs to see it, and how do we make sure they don't just see it — they feel it?

Aman is the founder of Teza Media and Loop Studios, and the exclusive visual production partner of Vera Luxe Real Estate. He works internationally across Germany, Ethiopia, the UAE, North Cyprus, Morocco, and beyond.