Check out the services I offer below! If you’re interested, contact me for more information, including rates and availability.

I’ve edited 2 feature films, numerous shorts, a Daytime Emmy Award-winning TV show, Addy-winning commercials, long form interviews and events, short form corporate content, and pretty much everything in between. I work in Adobe Premiere and use Frame.io for video review. The client’s wishes come first; I’ll always deliver what is agreed upon, and I’ll do it on time! No one is more critical of my work than I am, and I won’t let anything out my door that I don’t support completely.

At the same time, I’ll never shy away from telling you my opinion. As a director, I try to foster an environment where the best idea wins as long as it serves the story. I try to keep the same mentality as an editor and I enjoy working with people who feel the same. In the editing room, I see myself as a collaborator and, when applicable, a writer. If I see what I think is a better way to do something, I’ll respectfully recommend it. I don’t get paid to turn my brain off! 

Visit my portfolio if you want to see some of my work.

I’ve directed video projects for Comcast, Hachette Book Group, Skillsoft, and more. I’ve also, of course, directed my own narrative material. Whether it’s corporate video or narrative, I keep a clear vision of the final product in mind and focus on communicating that to my team and the client. I’ll always push for what I believe in, creatively, and I don’t believe in “good enough.” I also firmly believe making videos should be fun. I keep it loose, but focused.

Check out some of my work on my portfolio page!

I’m a video editor by trade, but I’ve also managed projects for clients from Warner Bros. Discovery to Kroger. I understand the needs and workflows of editors, audio engineers, and colorists. I’m experienced in all kinds of delivery specs, including broadcast, and can shepherd any team through the process. I’ll be the last person standing when it comes to quality control, and I’ll only send a video once I’m 100% confident it’s ready for viewing. 

I think most bad post-production experiences on the client side come from a lack of communication and understanding, so I focus on maintaining an open and honest line of communication with clients. I’m always willing to explain what we’re doing and why, so even clients who aren’t well-versed in post can understand the process and be a part of it. At the end of the day, we all want the best film, commercial, tv show, or whatever, with the least amount of friction!

When I started working in this industry, one of the ways I got on set was teaching myself how to be a 1st Assistant Director. It’s a job not a lot of people want to do, and even fewer know how to do it well. I always do my own script breakdown and I like to have regular meetings with department heads, in order to ensure the director’s vision is being carried out to the fullest extent. I don’t yell, I don’t berate anyone, I don’t subscribe to any of the toxic behavior some people see as the job of the AD. 

As a 1st, I set the tone for the set—we’re pleasant, we’re respectful, and we’re working as hard as we can to make the best product possible, as efficiently as possible. I’m also available to act as a 2nd or 2nd 2nd AD.

I’ve written numerous scripts, in a variety of formats. I’m familiar with traditional screenwriting formats (I use Scrivener), as well as A/V format for commercials. I’ve even collaborated on scripts for music videos, and written voiceover for documentary TV shows. I can provide script coverage for features, pilots, shorts, and more. I’m also well-versed in treatments if you’re  at the beginning stages of your journey and need help articulating your thoughts.

Great ideas aren’t worth anything until they’re on the page!

White papers, website pages, blogs, articles, pitch decks—if you can imagine it, I’ve written it. I’m skilled at adapting my writing voice to match any style, so I can jump into any project no matter where it is in the process.

As a writer myself, I see the script as a holy text. Whether I’m directing, assistant directing, or script supervising, I complete my own script breakdown, understanding and memorizing its molecular structure. Of course, that’s only half the battle when it comes to being a good scripty. You have to take comprehensive notes, have a keen eye for detail and continuity, and be willing to speak up when you see something amiss. 

I know how hard it is sometimes to direct actors and work with the camera department when you’re also the one checking the script for line accuracy, checking eye lines, background action, and all that other good stuff. Having someone you can trust as a script supervisor is invaluable—I got you.