BlackBoxTV premiered a slate of YouTube originals under a collaboration with Anthony E Zuiker (creator of C.S.I.). I worked with him and director Tony E. Valenzuela, to cut the narrative teaser kicking off the season and AE'd one such short.

As part of the Los Angeles Derby Dolls video crew, I worked as a camera operator & DIT for their live video coverage, as an assistant editor logging the mounds of footage generated from each bout, and as an editor and camera operator for several of their off-site promos. Keeping up with speeding skaters around a banked track served as an exciting way to acclimate to life in Los Angeles.

Before working as a RED digital imaging technician on the set of a feature film, I first got hands-on experience with the RED One camera by working from start to finish on the above promo for the Monterey Bay Film Festival. I had the incredible opportunity of following the historic journey of a marathon swimmer across the grueling 25-mile swim from Monterey to Santa Cruz, California. I hit the ground running, and within 3 days of filming, I took the raw 4K footage from camera to Final Cut Pro to Color to client.

Most of my work in New York City was for commercial start-up The Chapter Media. On set or off, I was preparing, organizing, running, cutting, and sharing their work. Much of it was under the close supervision of a client or their founder Corydon Wagner. He taught me the demands & expectations of commercial work, including branding aesthetics, client relations, and media management. Virtually no two projects that I cut were alike; they ranged from under thirty seconds to over an hour, and I always had the privilege to be involved from start to finish.

As part of the marketing for Capcom's 3DS video game Resident Evil: Revelations, I helped The Chapter Media take part in an elaborate viral campaign centering on the story's "Queen Zenobia" cruise ship. The ad agency built a full website for the fake cruise liner, and I was brought on board to help produce a few simple viral videos showcasing the grisly results of the game's zombie outbreak. Naturally, the verisimilitude we sought necessitate a lo-fi approach to shooting and editing these videos, leaving most of the heavy lifting to some amazing practical effects and location scouting. Instead, I focused on data management and my embarrassingly thorough knowledge of Resident Evil's backstory.

Our next task was to interview associate producer Tsukasa Takenaka. At Capcom's domestic headquarters in San Francisco, we shot a series of three developer diaries as Takenaka played through the game, describing its unique features.

The Chapter Media was hired by interactive marketing agency Deep Focus to film a visit from Ciroc Vodka's master distiller in September of '09. From that one shoot, I had full creative control to develop and edit six different video spots for an ad campaign leading up to and including a February '10 product launch.

On a number of particularly demanding projects at The Chapter Media, I worked side by side with fellow editor Chris Marcus to deliver graphics-heavy videos for some high-profile clients. We intuitively found ways to work to each other's strengths in dividing up the editing in an organized and efficient way to meet our clients' flurry of 11th-hour revisions.