About Me

My career in production began with a high school internship at a post-production facility. Nearly thirty years later, I still approach every project with the same excitement I had on day one. I love the process of getting to know a story and the people behind it, but I’m equally driven by the technical evolution of the craft—whether that’s mastering new techniques on set or exploring more efficient workflows in post-production.

Performance Under Pressure

I thrive within the constraints of a deadline. My experience ranges from having weeks to deliver a show for HGTV to having only minutes to edit and output a rollout for a nationally televised NASCAR race on ESPN. I view a tight deadline as the ultimate opportunity to flex my editorial muscle; if editors are athletes, the deadline is what we train for.

The Edit & The Process

Premiere Pro is my primary tool and daily driver. I rely on its deep integration with After Effects, Photoshop, and Illustrator to create a fluid, end-to-end creative workflow. While I focus on the Adobe suite, my foundation is built on extensive experience with Avid and Final Cut Pro—background that has made me a proficient, tool-agnostic editor capable of navigating any production environment.

In today’s fast-paced environment, there is no room for a sloppy workflow. I pride myself on a highly organized, "delivery-first" edit process:

Structured Timelines: My tracks are meticulously mapped—A-roll on V1, B-roll on V2, and graphics on V3—with a corresponding disciplined audio layout.
Seamless Collaboration: This organization ensures that every step is a step toward delivery, making mix-downs easy and hand-offs to other editors or collaborators seamless.
Creative Intent: Beyond organization, I focus on the "why." Whether a film requires bright, clean whites or a desaturated, documentary aesthetic, I believe my job is to share that specific story, not my own.