Broadcast roots.
Generated future.

The work I produce, end to end

Not just the edit — the whole video production pipeline: pre-production planning, shoot days, post, and delivery. I’ve run remote shoots coast to coast and managed everything around them — call sheets, legal releases, crew scheduling, equipment logistics — so the client sees one accountable person from kickoff to final file.

On the edit side I’ve been the sole editor on client projects across broadcast cuts, brand campaigns, explainers, event films, and multi-deliverable short-form social packages — native-vertical work with its own pacing, sound design, and hook discipline. The tools are the working editor’s stack: Premiere Pro, After Effects, and Audition daily, with generative tools folded in wherever they make the work faster without making it worse.

• Hearst / Very Local
• Marriott
• Westgate Resorts
• Hyatt Vacation Club
• Mitsubishi Electric
• Siemens Healthineers
• Congruent

The shift

Why “generated.”

There’s a new way to make media, and I’m not waiting to see how it shakes out — I’m already shipping it. I use AI to generate 3D assets, video, and entire websites, then produce them to the broadcast standard I came up on. New tools, same craft: pacing, taste, and knowing what a client actually needs. Along the way I build my own tools when the workflow calls for one — like MediaVerify, which makes sure your footage is safely backed up before you ever format a card.

The generated side isn’t limited to the screen, either. I work in the physical-digital seam — LiDAR scanning that captures real spaces as true-to-scale 3D, virtual staging and walkthroughs for spaces that never broke ground, drone and aerial imaging, and projection mapping that turns real surfaces into screens. The work index has the full picture.

How I work

Direct, and end to end.

I’ll tell you what’s working, what isn’t, and how I’d make it.

A producer who thinks about deadlines and deliverables, and an editor who sweats the frame — in one person.

That one-person shape matters more than it sounds. There’s no hand-off between the person who promised the thing and the person cutting it, so scope stays honest, notes land in the edit the same day, and the budget buys production instead of coordination overhead. It’s how a piece ships on time and on budget without anyone having to chase it.

• Regional EmmyMy Perfect Day
• 38 piecesin the selected-work orbit
• Coast to coastremote & on-location

Where

Orlando-based. Not Orlando-bound.

Home base is Orlando, Florida — Central Florida shoots are easy to stand up. But most of the client roster above was served remotely or on the road: I’ve produced shoots coast to coast, and the generated work travels over a wire by definition. If the project is interesting, geography is a detail.