Story before sparkle
Effects are easy; structure is hard. I make the story work first, then make it beautiful.
My story
From a tape deck to the timeline.
I started splicing footage as a teenager, dubbing skate videos onto VHS in a friend's garage. That obsession with rhythm and timing never left — it just moved from tape decks to non-linear suites. Today I bring the same instinct to every project: find the story buried in the rushes, then cut until it sings.
I cut my teeth in a broadcast post house, graded commercials for national campaigns, and spent five years editing independent documentaries on the road. In 2018 I launched Reel so I could choose my projects and stay hands-on from the first assembly to the final master — no hand-offs, no diluted intent.
When I'm not in the suite, you'll find me shooting 16mm on weekends, collecting film scores on vinyl, and arguing about the perfect cut point.
Skills & tools
How I work, and what I work with.
Disciplines
- Narrative & commercial editing
- Cinematic colour grading
- Sound design & audio mixing
- Motion graphics & titles
- On-set direction & shot planning
Tools
Experience
Where I've cut.
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2018 — Present
Founder & Lead Editor
Reel · Los Angeles & Remote
Editing and directing for brands, record labels, and independent filmmakers. 300+ films delivered across commercial, music, documentary, and narrative work.
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2015 — 2018
Senior Editor
Solstice Post
Led the edit on national TV campaigns and branded content, supervised junior editors, and built the house grading workflow in DaVinci Resolve.
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2013 — 2015
Documentary Editor
Wanderline Films
Cut three feature-length documentaries on location across four continents, two of which premiered at international festivals.
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2014 — Present
Assistant & Junior Editor
Northwind Broadcast
Started in the machine room — conform, media management, and dailies — before moving up to cutting promos and short-form spots.
What I believe
Principles that guide the cut.
Pacing is everything
A frame too long or too short changes how an audience feels. I obsess over rhythm.
Serve the footage
I find what's already great in the rushes and protect it, rather than forcing my style on top.
Close to the work
I take few projects so I can stay hands-on from first assembly to final master.
Honest feedback
I'll tell you what the cut needs, even when it isn't the note you hoped to hear.
Deliver clean
Locked timelines, correct specs, tidy exports. The handover should be as good as the film.
Let's make something worth watching.
If you've got footage or an idea that deserves a great cut, I'd love to hear about it.