My fourth feature film, Infamous, is a social media-centered heist thriller. Again I served as both assistant and picture editor—as well as VFX editor and post coordinator. It was great teaming up again with the same director, cinematographer, composer, and re-recording mixer as some of the below. Nailing some creative montages both action-heavy and slow-and-somber proved to be the biggest delight.
I served as lead assistant editor for the dramatic feature Alex/October. I synced, sorted, and even cut the first assembly. Afterward, I worked on deliverables & credits while coordinating with executive producer Lise Freberg to cut trailers for its festival submissions.
Negative was my third feature film collaboration with director Josh Caldwell. I served as one-man post department from start to finish on this thriller. It was a delight to work on a gripping story with strong performances. Together, Josh and I found ways to weave in plenty of awkward comedy alongside violent stand-offs.
I filled in as pinch hitter to meet production deadline for this episodic military action film, roughing in sound editing and VFX compositing for the lead editor.
For the feature film Be Somebody, I worked as the picture editor from start to finish—logging and organizing footage during production and implementing final notes from Studio 71. This was the first of a multi-picture deal with Paramount Pictures, and it was fairly smooth sailing. I enjoyed the chance to choose from a nice variety of performances from the actors and improvise with our music-driven montages.
The first feature film for which I've edited a full cut, Layover was a unique challenge: its dialogue is almost entirely in French. While I might have Cajun roots, this project didn't come easily, but the process was greatly rewarding. Director Josh Caldwell wrapped up this labor of love after my first few passes got it to 90 minutes, and it was a delight to see it work through the festival circuit.
For the Yahoo-exclusive feature Cybergeddon, I worked as an online and assistant editor, particularly for the short spin-off films called "zips." Syncing, logging, exporting, and other media management work led to the first cuts of over 90 minutes of ancillary content. It was a joy to work on dramatic, narrative content.
Two particularly unique undertakings were the "digi-novels" produced by the creator and executive producer of CSI, Anthony E. Zuiker. The Level 26 trilogy was a series of books revolving around extreme serial killers and the forensic detectives tasked with stopping them. Each book was paired with about an hour's worth of filmed scenes that served to bridge the gaps between chapters or otherwise flesh out the story.
For the second book, Dark Prophecy, I worked on set as the 2nd AC & data wrangler, and for both the 2nd and 3rd books, I worked as an assistant editor—from logging and syncing to burning blu-ray screeners.
The first feature film I helped carry into post was Divorce Corp—a truly ambitious documentary on the current state of family law and the broader financial issues surrounding divorce in America. Its director was James Scurlock, who previously directed and produced Maxed Out: Hard Times, Easy Credit, and the Era of Predatory Lenders. He and I worked very closely together for weeks at a time at his home, poring over the hundreds of hours of interviews.
I worked as the on-set data wrangler for the feature film Escapee, starring Faith Ford and Dominic Purcell. On an incredibly tight 12-day shoot in central Louisiana, I ran the producers' video village, loaded RED cards & drives, backed up all footage throughout the shoot, and provided video playback for the cast and crew. Whether running HD-SDI cable alongside a dolly through the woods or mediating the dailies hand-offs between post and producers, I never saw a moment's rest on this challenging but rewarding assignment.
I headed up the DVD release of Ray Romano's comedy documentary 95 Miles to Go. While the film itself was finished for a 2006 theatrical release, its airings on HBO prevented it from seeing a home video release for several years thereafter. It was during my work with Everybody Loves Raymond writer Tom Caltabiano, who directed the film, that we finally got started on preparing the film for a 2012 DVD release. After editing a new introduction for the film, I helped cut the 2+ hours of DVD bonus features as well as video features from a small press tour.