Some of the projects below I shot and cut start to finish. Others I came onto for one part of the job, behind the camera or in the edit, depending on what the project needed.
Everything below is a placeholder. "Low Tide," "Static Hours," "Harbor Light," "Two Exits," and "Nocturne" are not real films, they're stand-ins showing where your actual titles, thumbnails, and video links go. Delete or rename each one.
[One or two sentences on what it's about and your role. This is the project you'd send first if someone only watches one thing.]
I have a style I default to when nobody tells me otherwise, slower cuts, low light, characters who don't explain themselves. But most of the work that pays is somebody else's vision, not mine, and being useful means being able to cut for that too.
If you want something that moves like a Nolan sequence, cross-cut and time-jumbled, I can build that. If you want something closer to Scorsese, loose, talkative, music doing half the emotional work, I can build that too. Same goes for a tight 60-second Reel edit for an Instagram page, or a calmer documentary cut that just gets out of the subject's way. The placeholder examples below show that range. Replace each with a real cut once you have one in that style.
A separate space for writing, since that's a real part of what you make. Each entry below is a placeholder. Swap in your real script titles, loglines, and a link or PDF download for each.
Cinematography is what I love most, figuring out where light falls and where a camera should sit before anyone else on set has decided. Editing and direction are both real parts of what I do too, and most projects pull on all three depending on what the project needs.
Replace this with how you actually talk about your work, where you trained, what you keep being drawn back to, what a director or producer should expect if they bring you a project. Specific is better than impressive.