At Brat TV, I edited dozens of scripted and unscripted episodes for series including Chicken Girls, Total Eclipse, Boss Cheer, Red Ruby, and more. We had a full TV workflow in place—writers' room, showrunners, producers. And that included the usual journey from editor's cut to director's cut, to producer's and network cuts. All with sound, color, and VFX deliverables.
At Kyra TV, I served as assistant editor and editor on a range of unscripted and semi-scripted series.
At Awesomeness, I served as lead editor for 12 half-hour episodes of the documentary series L.A. Delivery Girls, which follows three doulas and their clients through labor. As such, I was tasked with sorting through hours of footage shot over 80 days and overseeing full half-hour cuts, YouTube-friendly mini-episodes, and social media promos.
At Candor Entertainment, I served as the lead assistant editor for two reality series: The Super & Model Students. There, I helped post production supervisor Philip Gatch organize all incoming and outgoing media and prep episodes for story producers and editors, before working on final deliverables to HDNet. With a brand new company on a shoestring budget lacking any existing infrastructure or post workflow, I worked double duty as post coordinator.
Furrocious is one of many shows under the Animalist umbrella, one of Discovery's digital networks. I've edited a dozen episodes from start to finish for this comic web series that features the trials and tribulations of comedian Mike Falzone and his girlfriend's quest for pet ownership.
One of my collaborations has been with Everybody Loves Raymond writer Tom Caltabiano on his web series Bar Social. On set, I worked as the AC/DIT for about ten episodes of our three-camera interviews, shot in the most fun production environment one could ask for. That ease extended to our editing sessions where we cut down the interviews to their 5-minute episodes as seen on YouTube.
Jetset Extra was an online travel magazine featuring a wide range of industry news, personal travelogues, and local guides. From 2011 to 2015, I cut over one hundred tours and interviews with some of the most colorful and distinguished figures in luxury travel and dining. Additionally, as with most of my work, I came to assist in much of their social media outreach, including Twitter and Facebook marketing.
Alternatively, while working at Imagecraft Productions, I found several opportunities to work on-set for their regular clients Dr. Phil & World Poker Tour. There I generally worked as a 2nd AC or video tech—from running cables to operating video switchers for live feeds. Some of these shows or similar pilots & development projects would then transition into post work, ranging from basic format conversions to editing full sizzle reels or EPKs.
Throughout my time in New York, I worked with gifted comedian Brian Scott McFadden both at his performances on stage and in post on his short films. No cut was made without his direct supervision; thus sincere comic sensitivity and thoughtfulness became greater assets than any technical proficiency. In each edit session, we played off of each other to find new & surprising angles, and together, we cut over a dozen episodes of "The McFadden Minute," his short-form YouTube series.