Freelancers using PostgreSQL in Sonoma

Freelancers using PostgreSQL in SonomaFreelancers using PostgreSQL in Sonoma

Projects People

Harrison Songolo

proPetaluma, USA

Interactive Websites & Full-Stack SaaS Builds

5.0: Rating

13: Followers

Interactive Websites & Full-Stack SaaS Builds

Rollout: Turning One Song Into a Full Release

Th3Circle: A Live Creator Subscription Platform

Multi-Tenant Isolation in PostgreSQL

Cover image for Most sites tell you they're

Most sites tell you they're premium. Almost none of them make you feel it. I spent the last stretch building thirteen concept sites chasing that difference, and the thing that kept proving itself is that the feeling comes from motion you control, not motion you watch. Four are real-time 3D in the browser. A crystalline brand hero turning under studio lighting, a perfume landing lit entirely by a real HDRI environment, a neural field of instanced particles for an AI product, an architectural monolith that reveals itself out of near-black. The other nine are scroll-scrubbed video, where you drag a whiskey pour or open a box or drive into a sunrise at whatever pace you want. The visitor is the animator, which is a very different thing from watching an autoplay loop. I design it, build it, and ship it myself, so there's no handoff where the feeling leaks out between the mockup and the browser. Two things I learned that I'd want someone else to know. If you light a translucent material without a real environment map, your scene renders black. Lighting is not polish you add at the end, it's a design decision you make first, before you have anything to look at. And if you want video to scrub frame for frame off scroll position with no stutter, re-encode it all keyframe. Every frame becomes a seek target. Most people fight that stutter in JavaScript when the fix lives in the encode. Who it actually serves is anyone selling on craft rather than spec. Fragrance, architecture, spirits, dev tools. The interaction buys a few more seconds of attention right where the headline and the call to action live, and those seconds are usually the whole game. All thirteen are live and interactive, and labeled as concepts because that's what they are. Still chewing on one thing. Where's the line where motion stops serving the brand and becomes the thing people remember instead of the brand? https://xkaii.studio/ui-ux-designs/

638

PostgreSQL(3)

Frederick Fritzinger

proSonoma, USA

Brand identity and websites. Small business and nonprofits.

New to Contra

Brand identity and websites. Small business and nonprofits.

Cover image for Mending Indigenous Spirits: one home

Mending Indigenous Spirits: one home for a Sonoma County nonprofit Mending Indigenous Spirits is a Northern California nonprofit running recovery meetings, cultural events, an artisan market, trainings and a wellness team. All of that was already happening. It just had nowhere to live online. I rebuilt their site so the whole range of the work sits in one place, on the phone, which is where most of their community finds them. I did it pro bono. I still run it. Who arrives, and how The organization supports relatives walking the Red Road and Wellbriety paths of recovery, survivors of domestic violence, unhoused relatives, youth and elders, families affected by Missing and Murdered Indigenous Persons, and Two-Spirit relatives. People often come to it on a hard day. That set the tone for every decision after it. Calm, legible, quick to read on a phone held in one hand. Structure before design Seven programs with nothing holding them together. Any design I put on top would have made it worse, so I mapped the whole range first: Vision, Team, Events, Wellbriety meetings, Artisan Market, Shared Journeys, Trainings. The architecture is the reason it still isn't cluttered two years in. The look Deep charcoal grounds, teal and warm gold, serif headings that carry weight without raising their voice. I wanted the culture to live in the structure and the typography rather than sit on top as ornament. How it's built Next.js and TypeScript over a PostgreSQL database. Events, meetings and trainings are records, not pages anyone re-edits, so the organization adds to the site instead of redesigning it. There's an admin behind all of it, switched off at their request. They send me the news and I publish it. What it has carried The events hub ran their Protect Our Children youth design contest end to end, from the call for entries through to three winners in August 2026. The winners page and the campaign flyer went live the day the board approved them. Still mine to look after The work started in 2025, the rebuild launched in 2026, and I've kept it running since. "Fred stepped up and took the initiative to clean up, rebuild, and reestablish our website. He brought a fresh perspective and created a more polished, welcoming, and well rounded face for our organization. His time, effort, and dedication have helped us present our work, vision, and services in a way that better represents who we are and the communities we serve." "We are truly grateful for Fred stepping up and helping bring our website back to life." Angelica Aviña, Board Chair, Mending Indigenous Spirits

Cover image for This is my production pipeline

This is my production pipeline filming itself. Ninety seconds of a music video getting built, captured off the screen while it happened. I don't cut on a timeline. I write a spec file, the renderer reads it, and every scene lands on a board where it gets approved before the master runs. This cut is eleven entries across three capture takes, pushing in on the console and the board cards, and it closes on the finished video's last section with the song back in sync at 0 ms drift. The piece it's building runs four minutes and 7,347 frames.

A personal brand for a Coast Miwok pinup model and squarebody truck builder in Sonoma County. Her work had been scattered across other people's feeds for a few years and she wanted one place of her own. I built the brand and the site, and behind it a bespoke studio only she can sign into. She uploads her own photos, writes her own captions and orders the galleries herself. 97 photos in there now across four pages. I don't touch it.

Cover image for A background concept for a

A background concept for a holiday campaign that changes with the season. I built it through my own media production pipeline. It's flat cut-paper art turned into a moving set: eighteen sheets sliced into about fifty cards, each standing at its own depth in a 3D scene. The camera drifts and the depth does the rest. Hanging pieces swing on threads, fog rolls, jack-o'-lanterns flicker. Every motion runs a whole number of cycles across the frame count, so the last frame hands back to the first and the loop never jumps. Halloween is the first pass. Thanksgiving and Christmas reuse the same rig.

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PostgreSQL(1)